POETS UNITED - SAINTS

“The worst sin toward our fellow creatures is not to hate them, but to be indifferent to them: that's the essence of inhumanity.” - George Bernard Shaw 

The theme for this week’s Midweek Motif at Poets United is “Saints”. Here is my contribution: 

The Saint and the Sinner 

The old man built a hermitage in the desert,
For this was to be his lonely retreat,
His escape from a world gone mad.
Here he would come close to his God,
Leave all sinners behind him
In hellish City populated by devils incarnate.

He prayed day and night, fasted, sang hymns,
All for the glory of a God who expected all,
The old man’s penance genuine, his belief unshakeable.
The desert was harsh, his solitude immense,
His self-delivered punishment great
With snakes and scorpions his only companions.

The old man was proclaimed a Saint,
And his fame grew and people flocked to him,
Craving his blessing…
He sent them all away – annoyed as he was
That his eremitic ways were disturbed
And his prayers were interrupted.

The young man in the City was a sinner,
That he knew, as well as he knew the void inside him;
His shame was unfathomable, his remorse endless.
He stayed there in the thick of it, with others of his kind,
For he knew their weakness first-hand, and felt their pain
Deep in his damaged soul, which was contested by the Devil.

He fought hard, with countless temptations to vie with;
His will (almost all lost), first to be regained
And then to be made of iron – no, of tempered steel.
The belief in himself to be won in an unequal battle
With those who taunted and bullied and harassed him;
And once he believed in himself he could believe in a kind God.

The young man stayed and risked being labelled a Sinner,
As he worked with addicts and ex-cons, pimps and street-walkers,
Giving comfort to those in most need of it.
He welcomed all and shied not away from pain, disease, misfortune;
He endured harsh words and harsher beatings, sometimes,
For violence from great misery is begotten.

The old man lived to be a centenarian, a hermit to the end,
His life devoted to his jealous God who doted on his devotion.
The young man died young as the sick he tended
Gave him a disease for which no cure existed.
You tell me then, once you’ve made your mind up,
Who is the Sinner and who the Saint?

TRAVEL TUESDAY #103 - CORVIN CASTLE, ROMANIA

“I have never yet heard of a murderer who was not afraid of a ghost.” - John Philpot Curran 

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.

Corvin Castle, also known as Hunyadi Castle or Hunedoara Castle (Romanian: Castelul Huniazilor or Castelul Corvinilor; Hungarian: Vajdahunyadi vár), is a Gothic-Renaissance castle in Hunedoara, Romania. It is one of the largest castles in Europe and figures in a top of seven wonders of Romania.

Corvin Castle was laid out in 1446, when construction began at the orders of John Hunyadi (Hungarian: Hunyadi János, Romanian: Iancu or Ioan de Hunedoara) who wanted to transform the former keep built by Charles I of Hungary. The castle was originally given to John Hunyadi’s father, Voyk (Vajk), by Sigismund, king of Hungary, as severance in 1409.

Built in a Renaissance-Gothic style and constructed over the site of an older fortification on a rock above the small Zlaști River, the castle is a large and imposing structure with tall towers, bastions, an inner courtyard, diversely coloured roofs, and myriads of windows and balconies adorned with stone carvings. The castle also features a double wall for enhanced fortification and is flanked by both rectangular and circular towers, an architectural innovation for the period’s Transylvanian architecture. Some of the towers (the Capistrano Tower, the Deserted Tower and the Drummers' Tower) were used as prisons.

The castle has 3 large areas: The Knights’ Hall, the Diet Hall and the Circular Stairway. The halls are rectangular in shape and are decorated with marble. The Diet Hall was used for ceremonies or formal receptions whilst the Knights’ Hall was used for feasts. In 1456, John Hunyadi died and work on the castle stagnated. Starting with 1458, new commissions were being undergone to construct the Matia Wing of the castle. In 1480, work was completely stopped on the castle and it was recognised as being one of the biggest and most impressive buildings in Eastern Europe.

The 16th century did not bring any improvements to the castle, but during the 17th century new additions were made, for aesthetic and military purposes. Aesthetically, the new Large Palace was built facing the town. A two level building, it hosted living chamber and a large living area. For military purposes, two new towers were constructed: The White Tower and the Artillery Tower. Also, the external yard was added, used for administration and storage. The current castle is the result of a fanciful restoration campaign undertaken after a disastrous fire and many decades of total neglect. It has been noted that modern “architects projected to it their own wistful interpretations of how a great Gothic castle should look”.

Tourists are told that the Castle was the place where Vlad III of Wallachia (commonly known as Vlad the Impaler) was held prisoner by John Hunyadi, Hungary’s military leader and regent during the King's minority, for 7 years after Vlad was deposed in 1462. Later, Vlad III entered a political alliance with John Hunyadi, although the latter was responsible for the execution of his father, Vlad II Dracul. Because of these links, the Hunedora Castle is sometimes mentioned as a source of inspiration for Bram Stoker’s Castle Dracula. In fact, Stoker neither knew about Vlad’s alliance with Hunyadi, nor about Hunyadi’s castle. Instead, Stoker’s own handwritten research notes confirm that the novelist imagined the Castle Dracula to be situated on an empty top in the Transylvanian Călimani Mountains near the former border with Moldavia.

In the castle yard, near the 15th-century chapel, there is a 30 meter deep well. According to legend, this was dug by three Turkish prisoners to whom liberty was promised if they reached water. After 15 years they completed the well, but their captors did not keep their promise. It is said that the inscription on a wall of the well means: “You have water, but have no soul”. Specialists, however, have translated the inscription as: “He who wrote this inscription is Hasan, who lives as slave of the giaours, in the fortress near the church”. In February 2007, Corvin Castle played host to the British paranormal television program “Most Haunted Live!” for a three-night live investigation into the spirits reported to be haunting the castle. Results were inconclusive…

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

MYTHIC MONDAY - EGYPT 33, RESHEPH

“Thunder makes a loud noise but it’s the quiet sky that lasts.” ― Marty Rubin

Resheph (also Rešef, Reshef; Canaanite ršp רשף; Eblaite Rašap, Egyptian ršpw) was a deity associated with plague (or a personification of plague) in the ancient Canaanite religion. The originally Eblaite and Canaanite deity was adopted into ancient Egyptian religion in the late Bronze Age during the Eighteenth Dynasty of Egypt (late 15th century BC) as a god of horses and chariots. In Biblical Hebrew, רֶשֶׁף‎ resheph is a noun interpreted as “flame, lightning” but also “burning fever, plague, pestilence”.

Ršp was an important Ugaritic deity. He had the byname of tġr špš “door-warden of the Sun”. Sacrifices to Ršp (ršp gn) were performed in gardens. Ugaritic Ršp was equated with Mesopotamian Nergal. One of Ršp’s epithets (ḥṣ) is interpreted as “arrow” and identifies Ršp as a plague god who strikes his victims with arrows as Homeric Apollo (Iliad I.42–55), and is therefore seen to be the Ugaritic equivalent of Apollo.

Resheph was adopted as an official deity in Egypt under Amenhotep II during the Eighteenth Dynasty of Egypt as god of horses and chariots. Originally adopted into the royal cult, Resheph became a popular deity in the Twentieth Dynasty while disappearing from royal inscriptions. In this later period, Resheph often appears with Qetesh and Min. In this time, however, most his stelae are found in Deir el-Medina, a settlement of Syrian (Levantine) craftsmen. The theonym is usually written as hieroglyphic ršpw, where the final -w is added in analogy to other Egyptian divine names.

Resheph was invoked for his power to cure ordinary people’s disease. He was thought to be able to repel the ‘akha’ demon, which causes abdominal pains. He also became the approachable deity who could grant success to those praying to him. Resheph was closely associated with the native Egyptian war god, Monthu and with many other deities. He was also known as “Lord of Sky”, “Lord of Eternity”, “Lord of Heaven” or “Governor of all the Gods” and an area of the Nile valley was renamed the “Valley of Reshep”.

ART SUNDAY - CORNELIS SAFTLEVEN

“Hell is empty and all the devils are here.” – William Shakespeare 

Cornelis Saftleven (c. 1607 in Gorinchem – 1 June 1681 in Rotterdam) was a Dutch painter who worked in a great variety of genres. Known in particular for his rural genre scenes, his range of subjects was very wide and included portraits, farmhouse interiors, rural and beach scenes, landscapes with cattle, history paintings, scenes of Hell, allegories, satires and illustrations of proverbs.

 Cornelis Saftleven was born into a family of artists. He learned to paint from his father Herman, along with his brothers Abraham and Herman Saftleven the Younger. He lived for a time in Utrecht with his brother. After training in Rotterdam, Cornelis likely travelled to Antwerp around 1632. Rubens is known to have added figures in paintings of Saftleven before 1637. When Rubens died in 1640 there were eight Saftlevens in his collection, four of which with figures added by Rubens.

Among his earliest works are portraits and peasant interiors influenced by Adriaen Brouwer. By 1634 Cornelis was in Utrecht, where his brother Herman Saftleven the Younger was living. The brothers began painting stable interiors, a new subject in peasant genre painting. He also made a double-portrait of himself and his brother in the Two Musicians (c. 1633; Academy of Fine Arts Vienna). By 1637 Cornelis had returned to Rotterdam. In 1648 he married Catharina van der Heyden, who died in 1654. The year after her death, he married Elisabeth van der Avondt. He became dean of the guild of Saint Luke of Rotterdam in 1667. His pupils included Abraham Hondius, Ludolf de Jongh and Egbert Lievensz van der Poel.

Approximately two hundred of Saftleven’s oil paintings and five hundred of his drawings still survive. His subject matter covered various subjects, including genre works, portraits, beach scenes, and biblical and mythological themes. His images of hell as well as his satires and allegories are considered to be his most important contributions to Dutch painting. Related in motif to these hell scenes are the numerous versions of the Temptation of St Anthony. Saftleven excelled at painting animals and often portrayed animals as active characters, occasionally with a hidden allegorical role. As a draughtsman, Saftleven is best known for his black chalk drawings of single figures, usually young men, and his studies of animals, which show Roelandt Savery’s influence.

The painting above is his “Witches’ Sabbath”.

HAPPY HALLOWEEN !

MUSIC SATURDAY - JOHANN H. SCHMELZER

“Death is not the greatest loss in life. The greatest loss is what dies inside us while we live.” - Norman Cousins 

Johann Heinrich Schmelzer (c. 1620–1623 – between 29 February and 20 March 1680) was an Austrian composer and violinist of the middle Baroque era. Almost nothing is known about his early years, but he seems to have arrived in Vienna during the 1630s, and remained as a composer and musician at the Habsburg court for the rest of his life. He enjoyed a close relationship with Emperor Leopold I, was ennobled by him, and rose to the rank of Kapellmeister in 1679. He died during a plague epidemic only months after getting the position.

Schmelzer was one of the most important violinists of the period, and an important influence on later German and Austrian composers for violin. He made substantial contributions to the development of violin technique and promoted the use and development of sonata and suite forms in Austria and South Germany. He was the leading Austrian composer of his generation, and an influence on Heinrich Ignaz Biber.

Schmelzer was born in Scheibbs, Lower Austria. Nothing is known about his early years, and most of the surviving information about his background was recounted by the composer himself in his petition for ennoblement of 1673. He described his father as a soldier, but in another document, the 1645 marriage certificate of Schmelzer’s sister Eva Rosina, he is listed as a baker. Schmelzer does not mention his father’s name, but Eva Rosina’s marriage certificate does: Daniel Schmelzer. At any rate, it remains unclear where and from whom Schmelzer received primary music education. His activities before 1643 are similarly unknown (the composer is first mentioned in a document dated 28 June 1643, relating to his first marriage). He is referred to as a cornettist at St. Stephen’s Cathedral (Stephansdom), Vienna. The date of his arrival to Vienna is unknown, but he probably worked at the court chapel in the late 1630s, in the employ of Ferdinand II and, after 1637, Ferdinand III. Schmelzer’s colleagues at the chapel included such distinguished composers as Johann Jakob Froberger, Giovanni Valentini, and Antonio Bertali.

Schmelzer was officially appointed court violinist in 1649. Our knowledge of his position, duties, and activities is incomplete. He apparently rose to prominence as a violin virtuoso, as well as a composer, and enjoyed a close relationship with Emperor Leopold I, who was a well-known patron of the arts and a composer himself. Schmelzer started publishing his music in 1659. He was appointed vice-Kapellmeister on 13 April 1671. On 14 June 1673, after the composer petitioned for ennoblement, the Emperor raised Schmelzer to the ranks of nobility; Schmelzer now added von Ehrenruef to his name. Eventually, after his predecessor Giovanni Felice Sances had died, Schmelzer became Kapellmeister, on 1 October 1679. Unfortunately, he fell victim of the plague early in 1680, and died in Prague, where the Viennese court moved in an attempt to evade the epidemic.

Four of his children are known: Andreas Anton Schmelzer (26 November 1653 – 13 October 1701), a composer; Peter Clemens Schmelzer (28 June 1672 – 20 September 1746), a lesser composer; Franz Heinrich Schmelzer (born 27 June 1678), a Jesuit priest; and George Joseph Schmelzer (dates unknown).

Here are some of his Sonatas for Violin, played by Hélène Schmitt (violin); Jan Krigovsky (violone); Stephan Rath (theorbo); Jrg-Andreas Btticher (continuo).

FOOD FRIDAY - EMPANADAS

“Barriga llena, corazón contento.” (Full stomach, happy heart) – Mexican proverb 

I got this recipe from a friend of ours who gave us some of these empanadas, which she makes. She is an ovo-lacto-vegetarian and has modified the traditional meat filling with a mushroom-based one. They are quite delicious! 

Mushroom Empanadas
Ingredients - dough
110 g butter
1 and 1/2 teaspoons salt
700 grams flour (and a little more of needed)
50 g butter for glazing
Ingredients – filling
450 g mixed fresh mushrooms
Olive oil for sautéing
1 cup diced onion
1/2 cup diced capsicum
60 g grated hard cheese
200 g potatoes, peeled and diced
4 garlic cloves, mashed to a paste
2 teaspoons chopped thyme
2 teaspoons chopped marjoram
1 teaspoon dried epazote (can substitute with oregano)
1 tablespoon tomato paste
1 tablespoon paprika
Large pinch cayenne
Vegetable broth, as necessary
1/2 cup chopped Spring onions, white and green parts
1/4 cup chopped, pitted, green olives
2 boiled eggs, diced 

Method
Make the dough: Put 2 cups boiling water, the butter and salt in large mixing bowl. Stir to melt butter and dissolve salt. Cool to room temperature. Gradually stir in flour with a wooden spoon until dough comes together. Knead for a minute or two on a floured board, until firm and smooth. Add more flour if sticky. Wrap with cling film and refrigerate for one hour. 

Make the filling: Season chopped mushrooms generously with salt and pepper and set aside for 10 minutes. Heat three tablespoons olive oil in a wide heavy skillet over medium-high heat. Add mushrooms and fry until nicely cooked, stirring throughout, about 5-10 minutes.
Turn heat down to medium and add onion and capsicum. Keep turning mixture with a spatula, as if cooking hash, until onion is softened and browned, about 10 minutes. Add potatoes, garlic, thyme, marjoram and epazote, stirring well to incorporate. (Add a little more oil to pan if mixture seems dry.) Season again with salt and pepper and let mixture fry for 2 more minutes. Stir in tomato paste, pimentón and cayenne, then a cup of broth. Turn heat to simmer, stirring well to incorporate any caramelised bits.
Cook for about 10 more minutes, until both meat and potatoes are tender and the sauce just coats them,  juicy is what you want. Taste and adjust seasoning for full flavour (intensity will diminish upon cooling). Stir in spring onions and cheese, allowing to cool to room temperature, then cover and refrigerate until ready to use.

Divide chilled dough into 30 g pieces and form into 5 cm diameter balls. Roll each piece into a 12 cm circle. Lay circles on a baking sheet lightly dusted with flour.
Moisten outer edge of each round with water. Put about 2 tablespoons filling in the centre of each round, adding a little hard-cooked egg to each. Wrap dough around filling to form empanada, pressing edges together. Fold edge back and finish by pinching little pleats or crimping with a fork.
Heat oven to 190˚C. Place empanadas on an oiled baking sheet, about 3 cm apart. Brush tops lightly with melted butter and bake on top shelf of oven until golden, 10 to 15 minutes. Serve warm.

ALL ABOUT EPAZOTE

“There are poisons that blind you, and poisons that open your eyes.” ― August Strindberg 

Dysphania ambrosioides (formerly Chenopodium ambrosioides), known as wormseed, Jesuit’s tea, Mexican-tea, payqu (paico), epazote, or herba sancti Mariæ, is an annual or short-lived perennial herb native to Central America, South America, and southern Mexico.

It is an annual or short-lived perennial plant growing to 1.2 m tall, irregularly branched, with oblong-lanceolate leaves up to 12 cm long. The flowers are small and green, produced in a branched panicle at the apex of the stem. As well as in its native areas, it is grown in warm temperate to subtropical areas of Europe and the United States (Missouri, New England, Eastern United States), sometimes becoming an invasive weed.

The generic name Dysphania traditionally was applied in the 1930s to some species endemic to Australia. Placement and rank of this taxon have ranged from a mere section in Chenopodium to the sole genus of a separate family Dysphaniaceae, or a representative of Illicebraceae. The close affinity of Dysphania to “glandular” species of Chenopodium sensu lato is now evident. The common Spanish name, epazote (sometimes spelled and pronounced ipasote or ypasote), is derived from Nahuatl: epazōtl (pronounced [eˈpasoːt͡ɬ]) meaning “skunk sweat”. 

D. ambrosioides is used as a leaf vegetable, herb, and herbal tea for its pungent flavour. Raw, it has a resinous, medicinal pungency, similar to oregano, anise, fennel, or even tarragon, but stronger. The fragrance of D. ambrosioides is strong but difficult to describe. A common analogy is to turpentine or creosote. It has also been compared to citrus, savoury, and mint.

Although it is traditionally used with black beans for flavour and its supposed carminative properties (less gas), it is also sometimes used to flavour other traditional Mexican dishes as well: It can be used to season quesadillas and sopes (especially those containing huitlacoche), soups, mole de olla, tamales with cheese and chili peppers, chilaquiles, eggs and potatoes and enchiladas. It is often used as a herb in white fried rice and an important ingredient for making the green salsa for chilaquiles.

The essential oils of D. ambrosioides contain terpene compounds, some of which have natural pesticide capabilities. The compound ascaridole in epazote inhibits the growth of nearby plants, so it would be best to relegate this plant at a distance from other inhabitants of the herb garden. Even though this plant has an established place in recipes and in folklore, it is wise to use only the leaves, and those sparingly, in cooking. Do not use the flowering shoots or the seeds! Overdoses of the essential oil have caused human deaths (attributed to the ascaridole content). The symptoms including severe gastroenteritis with pain, vomiting, and diarrhoea.

Epazote contains an extensive array of vitamins and minerals, including vitamins A,B and C, as well as calcium, manganese, copper, iron, magnesium, potassium, phosphorous, and zinc. It can help relieve cramping, bloating and constipation in addition to enhancing the immune system and protecting the body’s cells against free radical damage to lower the risk of a number of certain cancers and other chronic diseases.

In the language of flowers, epazote sprigs mean: "I am not who I seem." Flowering sprigs carry the message: "Associate yourself with me at your risk."

POETS UNITED - JOURNEY

“Gradually the magic of Corfu settled over us as gently and clingingly as pollen.” ― Gerald Durrell 

This week, Poets United has as its Midweek Motif theme “Journey”. We are all travellers, spatially, chronologically, experientially and spiritually, so it’s not hard to identify to this theme at all. Here is a memory from one of our trips to Greece, several years ago. 

Journey to Corfu 

A walk alone in the old fortress while the sun sets,

The air so sweet, the breeze so soft, the evening perfect.

Below the city stretches and I see it as if on a magic carpet ride;

The centuries around me crumble, time a fleeting sweet perfume.

The stones, if they could speak, what tales I would hear,

The earth if it could sing, what songs, what hymns, what psalmodies!

I look and sight contented rests for whole eternities on wine dark seas

And my mind travels on a ship hewn of history.

Restore the peeling paint, patch crumbling walls,

Upend the fallen stones and lo, the English to the Venetians cede their place,

And the Venetians to the Romans; behold, the Lion smiles on the arch above,

And somewhere always there, always alight, there is Greek fire.

TRAVEL TUESDAY #102 - ST PETERSBURG

“A church is a hospital for sinners, not a museum for saints.” - Pauline Phillips 

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.

Saint Petersburg (Russian: Санкт-Петербу́рг, tr. Sankt-Peterburg) is the second largest city in Russia, politically incorporated as a federal subject (a federal city). Situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was named Saint Petersburg in 1703. In 1914, the name was changed from Saint Petersburg to Petrograd (Russian: Петрогра́д), in 1924 to Leningrad (Russian: Ленингра́д), and in 1991 back to Saint Petersburg.

Tsar Peter the Great founded Saint Petersburg on May 27 [O.S. 16] 1703. Between 1713–1728 and 1732–1918, Saint Petersburg was the imperial capital of Russia. In 1918, the central government bodies moved to Moscow. It is Russia’s second-largest city after Moscow, with five million inhabitants in 2012, and an important Russian port on the Baltic Sea. Saint Petersburg is the most Westernised city of Russia, as well as its cultural capital. It is the northernmost city in the world with a population of over one million.

The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site. Saint Petersburg is home to The Hermitage, one of the largest art museums in the world. A large number of foreign consulates, international corporations, banks, and businesses have offices in Saint Petersburg. We visited St Petersburg in 2001 and thoroughly enjoyed it, seeing an amazing number of significant sites, museums, historical and cultural areas. The people we met were courteous, helpful and friendly. 

The Church of the Saviour on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of St. Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Saviour on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova). This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.

Architecturally, the Cathedral differs from St. Petersburg’s other structures. The city’s architecture is predominantly Baroque and Neoclassical, but the Saviour on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil’s Cathedral in Moscow.

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 here, and link back to this page from your own post: 
 

MYTHIC MONDAY - EGYPT 32, SHED

“Work out your own salvation. Do not depend on others.” – Gautama Buddha 

Shed was a deity from ancient Egyptian religion who was popularly called “the Saviour”, and he is first recorded after the Amarna Period. Representing the concept of salvation, Shed is identified with Horus, particularly Horus the Child. Rather than have formal worship in a temple or as an official cult, he appears to have been a god that ordinary Egyptians looked to save them from illness, misfortune or danger.

He is shown on the Metternich Stela as vanquishing danger in the form of a serpent, a scorpion and a crocodile. The rise of “Saviour” names in personal piety during the Amarna period has been interpreted as the popular response of ordinary people to the attempts by Akhenaten to proscribe the ancient religion of Egypt. Shed has also been viewed as a form of the Canaanite god Resheph.

Shed can be depicted as a young prince overcoming snakes, lions and crocodiles. Shed has been viewed as a form of helper for those in need when state authority or the king’s help is wanting. The increased reliance on divine assistance could even extend to saving a person from the Underworld, even to providing a substitute, and lengthening a person’s time in this world. In the New Kingdom Shed “the Saviour” is addressed on countless stelae by people searching or praising him for help.

ART SUNDAY - FEDERICO ZANDOMENEGHI

“After women, flowers are the most lovely thing God has given the world.” - Christian Dior 

Federico Zandomeneghi (June 2, 1841 – December 31, 1917) was an Italian Impressionist painter. He was born in Venice and his father, Pietro, and grandfather, Luigi, were neoclassic sculptors. The latter completed the monument to Titian found in the Frari of Venice.

As a young man, Zandomeneghi preferred painting to sculpture, enrolling in 1856 first in the Accademia di Belle Arti in Venice, and then in the Academy of Fine Arts of Milan. In 1860, he tried to join with the forces of Giuseppe Garibaldi (1807-1882) in his Expedition of the Thousand. This made it uncomfortable for him to reside in Venice, and in 1862, he moved to Florence for 5 years where he frequented the Caffè Michelangiolo. There he met a number of the artists known as the Macchiaioli, including Telemaco Signorini, Giovanni Fattori and Giuseppe Abbati, and he joined them in painting landscapes outdoors.

Painting outside of the studio, ‘en plein air’, was at that time an innovative approach, allowing for a new vividness and spontaneity in the rendering of light. In 1871 Pompeo Molmenti wrote glowing assessments of three young Venetian painters: Guglielmo Ciardi, Alessandro Zezzos, and Zandomeneghi. In 1874, he went to Paris, where he was to spend the rest of his life. He quickly made the acquaintance of the Impressionists, who had just had their first group exhibition. Zandomeneghi, whose style of painting was similar to theirs, would participate in four of their later exhibitions, in 1879, 1880, 1881, and 1886.

Like his close friend Edgar Degas, Zandomeneghi was primarily a figure painter, although Zandomeneghi’s work was more sentimental in character than Degas’. He also admired the work of Mary Cassatt and Pierre-Auguste Renoir, and his many paintings of women in their domestic routines follow their example. To supplement the meager returns from the sale of his paintings, Zandomeneghi found work drawing illustrations for fashion magazines.

He took up working in pastels in the early 1890s, and became especially adept in this medium. At about this same time his reputation and his fortunes were enhanced when the art dealer Durand-Ruel showed Zandomeneghi’s work in the United States. From then on he enjoyed continuing modest success until his death in Paris in 1917.

The pastel drawing above from 1893 is his “Taking Tea”. The composition is marvelous and the personalities of the young women who are drinking tea and partaking of a little “social criticism” at the same time is rendered delicately, although a little tongue-in-cheek. The texture of the surface and the rough flakes of pigment in parts recalls a little the pointillists, but the image is definitely clearly identifiable as belonging to the circle of the French Impressionists.

MUSIC SATURDAY - PETER VON WINTER

“Harmony is pure love, for love is a concerto.” - Lope de Vega 

Peter von Winter (baptized 28 August 1754 – 17 October 1825) was a German opera composer who followed Mozart and preceded Weber, acting as a bridge between the two in the development of German opera. Winter was born at Mannheim. A child prodigy on the violin, he played in the Mannheim court orchestra. He studied with Antonio Salieri in Vienna.

Moving to Munich in 1778, he became director of the court theatre at which point he started to write stage works, at first ballets and melodramas. He became Vice-Kapellmeister in Munich in 1787 and Kapellmeister in 1798, a title he kept for the rest of his life. Of more than thirty operas written by Winter between 1778 and 1820 very few were unsuccessful. His most popular work, Das unterbrochene Opferfest, was produced in 1796 at Vienna, where in 1797-1798 he composed Die Pyramiden von Babylon and Das Labyrinth oder Der Kampf mit den Elementen, both written for him by Emanuel Schikaneder, in continuation of the story of Mozart’s Die Zauberflöte.

He returned to Munich in 1798. Five years later he visited London, where he produced La grotta di Calipso in 1803, Il ratto di Proserpina in 1804 (both to libretti by Lorenzo Da Ponte), and Zaira in 1805, with great success. Maometto (1817) is probably his most famous opera, still performed sometimes and it exists in an excellent recording on CD. His last opera, Der Sänger und der Schneider, was produced in 1820 at Munich, where he died.

Besides his dramatic works he composed concertos for wind and orchestra and some sacred music, including 26 masses. Here is his Concerto for Clarinet & Bassoon in E-flat major:
Mov. I: Adagio - Allegro 00:00
Mov.II: Andantino 08:41
Mov.III: Rondo: Allegro 11:14
Clarinet: Dieter Klöcker; Bassoon: Karl-Otto Hartmann; Orchestra: Suk Chamber Orchestra Prague; Conductor: Petr Škvor.

FOOD FRIDAY - CHICKEN SALTIMBOCCA

“I like chicken a lot because chicken is generous - that is to say, it’s obedient. It will do whatever you tell it to do.” - Maya Angelou

We once had this dish in a restaurant and we enjoyed it very much. A friend gave us the recipe, which we then made at home and it was quite a good approximation of the restaurant dish. 

Chicken Saltimbocca

Ingredients

2 skinless chicken breast fillets

Salt and pepper

2 thin slices prosciutto

2-4 fresh sage leaves

1½ teaspoons all-purpose flour

1 tablespoon butter

1 tablespoon extra-virgin olive oil

¾ cup dry Marsala 

Method

Put chicken breasts between pieces of plastic wrap and, using a rolling pin or the smooth side of a meat mallet, bash them to a thickness of just under one centimeter (don’t hit so hard that they break up). Season with salt and pepper.

Wrap a slice of prosciutto around each chicken escalope and put a sage leaf or two on top. Lightly dust the chicken on both sides with flour. Heat butter and oil in a large skillet over medium heat.

Cook the chicken until no longer pink in the middle, about 3 minutes per side. To check if it's done, stick the tip of a sharp knife into it: the juice that runs out should be clear with no trace of pink. Transfer the chicken to a warm platter and cover with foil.

Add Marsala to the pan and cook over high heat until thickened and reduced by about half, 3 to 4 minutes. Serve the sauce over the chicken.

Accompany with a fresh seasonal salad and some dry white wine.

ALL ABOUT MEXICAN TARRAGON

“A Béarnaise sauce is simply an egg yolk, a shallot, a little tarragon vinegar, and butter, but it takes years of practice for the result to be perfect.” - Fernand Point 

Mexican tarragon (Tagetes lucida Cav.) is a perennial plant native to Mexico and Central America. It is used as a medicinal plant and as a culinary herb. The leaves have a tarragon-like flavour, with hints of anise, and it has entered the nursery trade in North America as a tarragon substitute. Other common names include sweet-scented marigold, Mexican marigold, Mexican mint marigold, Spanish tarragon, sweet mace, Texas tarragon, pericón, yerbaniz, and hierbanís. 

Tagetes lucida grows 45–75 cm tall. Depending on situation and plant type, the herb may be fairly upright, while other forms appear bushy with many unbranching stems. The leaves are linear to oblong, about 7.5 cm long, and shiny medium green, not blue-green as in French tarragon (Artemisia dracunculus var. sativa). In late summer it bears clusters of small golden yellow flower heads on the ends of the stems. The flower heads are about 1.5 cm across and have 3-5 golden-yellow ray florets. The flowers are hermaphroditic (have both male and female organs) and are pollinated by insects.

Fresh or dried leaves of this herb are used as a tarragon substitute for flavouring soups, sauces, salads etc. A pleasant anise-flavoured tea is brewed using the dried leaves and flower heads. This is primarily used medicinally in Mexico and Central America. The tea is digestive, diuretic, febrifugal, hypotensive, narcotic, sedative and stimulatory. 

Use of the plant depresses the central nervous system, whilst it is also reputedly anaesthetic and hallucinogenic. It is used internally in the treatment of diarrhoea, nausea, indigestion, colic, hiccups, malaria and feverish illnesses. Externally, it is used to treat scorpion bites and to remove ticks. The leaves can be harvested and used as required, whilst the whole plant is harvested when in flower and dried for later use.

A yellow dye can be obtained from the flowers. The dried plant is burnt as an incense and to repel insects. Tagetes lucida was used by the Aztecs in a ritual incense known as Yauhtli. The Aztecs allegedly used Tagetes lucida as one of the ingredients in a medicinal powder which was blown into the faces of those about to become the victims of human sacrifice and which may have possessed stupefying or anxiolytic properties. The plant was linked to the rain god Tlaloc.

The plant is also used by the Huichol, mixed with Nicotiana rustica (a potent wild tobacco), for its claimed psychotropic and entheogenic effects. In one study, methanolic extract from the flower inhibited growth of Staphylococcus aureus, E. coli, and Candida albicans cultures. This effect was enhanced with exposure to ultraviolet light. The roots, stems, and leaves also had the same effect when irradiated with UV light.

In the language of flowers, non-flowering sprigs of the plant carry the meaning: “You soothe my spirit”. Flowering sprigs indicate: “Your refusal will be the cause of my death.

Béarnaise Sauce
Ingredients
1/4 cup white wine vinegar
1/2 cup dry white wine
4 sprigs Mexican tarragon, leaves finely minced, stems reserved separately
1 small shallot, roughly chopped
1/2 teaspoon whole black peppercorns
2 egg yolks
1 cup molten butter
Salt to taste 

Method
Combine vinegar, wine, herb stems, shallots, and black peppercorns in a small saucepan. Bring to a simmer over medium-high heat and lower heat to maintain a gentle simmer. Cook until reduced to about one and a half tablespoons of liquid, about 15 minutes. Carefully strain liquid through a fine mesh strainer into a small bowl, pressing on the solids with the back of a spoon to extract as much liquid as possible.

Combine vinegar reduction, egg yolk, and a pinch of salt in the bottom of a jug that just fits the head of an immersion blender. Melt butter in a small saucepan over high heat, swirling constantly, until foaming subsides. Transfer butter to a one cup liquid measure. Place the head of immersion blender into the bottom of the jug holding the vinegar/yolk mixture and turn it on. With the blender constantly running, slowly pour hot butter into the jug. It should emulsify with the egg yolk and vinegar reduction. Continue pouring until all butter is added. Sauce should be thick and creamy.

If the mixture is thin and runny, transfer to a large bowl set over a pot of barely simmering water. Whisk constantly and vigorously until sauce is thickened. Season to taste with salt. Whisk in chopped Mexican tarragon leaves. Serve immediately, or transfer to a small lidded pot and keep in a warm place for up to 1 hour before serving. Béarnaise cannot be cooled and reheated.

This post is part of the Floral Friday Fotos meme.

POETS UNITED - DARK MOON, NEW MOON

“We are all like the bright moon, but we still have our dark side.” ― Kahlil Gibran 

In the Poets United site this week the Midweek Motif theme is Dark Moon, New Moon. My contribution is below:
  
Mistress Moon

Dark Mistress Moon,
You hide your face tonight,
(In shame?)
For mischief’s afoot
And all sorts of foul deeds need to be done… 

O, Moon, my Moon,
You of the radiant countenance
(So pure!)
You’re kind and gentle
When you shine and leaves with silver shower. 

Harsh, Moon, when you veil
Your beauty in dark crêpe,
(In mourning?)
You hide your sadness
And you let your anger, cruelty and vileness beget. 

O, Moon, my Moon,
Your gibbous fecund glow,
(In pregnancy…)
Generates blessings
When you touch with light caress all womankind. 

Dark Mistress Moon,
With sharpened sickle,
(So deadly!)
Tonight you’ll cut

The thread of life of those who dared offend you. 

O, Moon, my Moon,
Tomorrow night reborn,
(In innocence…)
You’ll smile and heal,
And give back hope and dignity to those wronged.

TRAVEL TUESDAY #101 - PAPHOS, CYPRUS

“Behind each woman rises the austere, sacred and mysterious face of Aphrodite.” - Nikos Kazantzakis 

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.

Paphos (Greek: Πάφος [Pafos]; Turkish: Baf) is a coastal city in the southwest of Cyprus and the capital of Paphos District. In antiquity, two locations were called Paphos: Old Paphos, today at Kouklia, and New Paphos. The current city of Paphos lies on the Mediterranean coast, about 50 km west of Limassol (the biggest port on the island), which has an A6 highway connection. Paphos International Airport is the country’s second-largest airport. The city has a subtropical-Mediterranean climate, with the mildest temperatures on the island. 

Paphos Castle (seen above) is located on the edge of Paphos harbour. It was originally built as a Byzantine fort to protect the harbour. It was then rebuilt by the Lusignans in the thirteenth century after being destroyed in the earthquake of 1222. In 1570 it was dismantled by the Venetians. After capturing the island, the Ottomans restored and strengthened it.

Throughout the ages it has seen many uses. It has served as a fortress, a prison and even a warehouse for salt during the British occupation of the island. More recently the castle serves as a backdrop to the annual open air Paphos cultural festival, which takes place in September. It was declared a listed building in 1935 and represents one of the most distinctive landmarks of the city of Paphos. Several archaeological excavations have taken place to investigate its past.

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 here, and link back to this page from your own post:

ART SUNDAY

"Art, freedom and creativity will change society faster than politics." - Victor Pinchuk

MYTHIC MONDAY - EGYPT 31, RENENUTET

“People need dreams, there’s as much nourishment in ‘em as food.” - Dorothy Gilman 

Renenūtet (also transliterated Ernūtet and Renenet) was a goddess of nourishment and the harvest in ancient Egyptian religion. The importance of the harvest caused people to make many offerings to Renenutet during harvest time. Initially, her cult was centered in Terenuthis. Renenutet was envisioned, particularly in art, as a cobra, or as a woman with the head of a cobra.

The verbs ‘to fondle, to nurse, or rear’ help explain the name Renenutet. This goddess was a ‘nurse’ who took care of the pharaoh from birth to death. She was the female counterpart of Shai, ‘destiny’, who represented the positive destiny of the child. Along with this, Renenutet was also the Thermouthis, or Hermouthis in Greek. She embodied the fertility of the fields and was the protector of the royal office and power.

Sometimes, as the goddess of nourishment, Renenutet was seen as having a husband, Sobek. He was represented as the Nile River, the annual flooding of which deposited the fertile silt that enabled abundant harvests. The temple of Medinet Madi is dedicated to both Sobek and Renenutet. It is a small and decorated building in the Faiyum.

More usually, Renenutet was seen as the mother of Nehebkau, who occasionally was represented as a snake also. When considered the mother of Nehebkau, Renenutet was seen as having a husband, Geb, who represented the Earth. She was the mother of the god Nepri.

Later, as a snake-goddess worshiped over the whole of Lower Egypt, Renenutet was increasingly associated with Wadjet, Lower Egypt’s powerful protector and another snake goddess represented as a cobra. Eventually Renenutet was identified as an alternate form of Wadjet, whose gaze was said to slaughter enemies. Wadjet was the cobra shown on the crown of the pharaohs.