POETS UNITED - SILENCE

“Absolute silence leads to sadness. It is the image of death.” - Jean-Jacques Rousseau 

For this week’s theme Poets United has set its Midweek Motif as “Silence”. My poem refers to two Hellenistic gods: Harpocrates and Hermes – in case your mythology is rusty, here is what they stood for. 

Harpocrates (Ancient Greek: Ἁρποκράτης) was the god of silence, secrets and confidentiality in the Hellenistic religion developed in Ptolemaic Alexandria (and also an embodiment of hope, according to Plutarch). Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the newborn sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into the Hellenistic god known as Harpocrates, a rendering from Egyptian Har-pa-khered or Heru-pa-khered (“Horus the Child”). 

Hermes (Greek: Ἑρμῆς) is an Olympian god in Greek religion and mythology, the son of Zeus and the Pleiad Maia, and the second youngest of the Olympian gods (Dionysus being the youngest). Hermes was the emissary and messenger of the gods. Hermes was also “the divine trickster” and “the god of boundaries and the transgression of boundaries, ... the patron of herdsmen, thieves, graves, and heralds.” He is described as moving freely between the worlds of the mortal and divine, and was the conductor of souls into the afterlife. He was also viewed as the protector and patron of roads and travellers.

During Classical and Hellenistic Greece he is usually depicted young and nude, with athleticism, as befits the god of speech and of the gymnastics. When represented as Logios (Greek: Λόγιος, speaker), his attitude is consistent with the attribute, his hands often in an eloquent gesture. 

Silence Befits Harpocrates

O, Horus Child; O, Sun of dawn,

Who by the shores of mighty Nile

You grow into virile manhood,

My forebears dubbed you Harpocrates,

For your Egyptian name was too rough

For their silvery, slippery tongues.

You stand and look at me smiling,

And unlike your children friends

You hold your tongue,

Though all you know, all you’ve seen;

And yet you talk not, you keep my secrets

Betrayer you are not, my loyal friend.

Harpocrates (I too, prefer this name of yours),

You weave fine wreaths of fragrant roses

And even if sharp thorn draws blood

From your pricked finger, you let it flow

And not a word escapes your lips,

No cry of pain, no sigh of fierce frustration.

I shall my lover call Harpocrates, after you,

For he too stays silent, (too silent for my liking),

And he too betrays no confidence,

(Even his own to me he will not give);

I tell all, confide in him and expect in return a flood of words,

But like you Harpocrates, all he does is smile – silently…

To Hermes Logios I shall sacrifice three nightingales,

And hope that he will give you more words than I need;

For while Harpocrates is a fine god for friends,

I’d rather model my lover after Hermes, whose eloquence

I want filling my voids with wise words, small talk, poetry,

Entreaties, vows, idle prattle, and even more vital,

Words of love, sweet talk of passion, nothings of fond affection…

TRAVEL TUESDAY #104 - MACHU PICCHU, PERU

“Mystery creates wonder and wonder is the basis of man's desire to understand.” - Neil Armstrong 

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.

Machu Picchu is a 15th-century Inca citadel situated on a mountain ridge 2,430 metres above sea level. In the Quechua language, machu means “old”, while pikchu means “peak; mountain or prominence with a broad base that ends in sharp peaks”, hence the name of the site means “old peak”. It is located in the Cusco Region, Urubamba Province, Machupicchu District in Peru, above the Sacred Valley, which is 80 kilometres northwest of Cuzco and through which the Urubamba River flows. Most archaeologists believe that Machu Picchu was constructed as an estate for the Inca emperor Pachacuti (1438–1472).

During its use as a royal estate, it is estimated that no more than 750 people lived there at a time, most people being support staff (yanaconas, yana) who lived there permanently. Though the estate belonged to Pachacuti, religious specialists and temporary specialised workers (mayocs) lived there as well, most likely for the ruler’s well-being and enjoyment. During the harsher season, staff dropped down to around a hundred servants and a few religious specialists focused only on maintenance.

Often mistakenly referred to as the “Lost City of the Incas” (a title more accurately applied to Vilcabamba), it is the most familiar icon of Inca civilization. The Incas built the estate around 1450 but abandoned it a century later at the time of the Spanish Conquest. Although known locally, it was not known to the Spanish during the colonial period and remained unknown to the outside world until American historian Hiram Bingham brought it to international attention in 1911.

Machu Picchu was built in the classical Inca style, with polished dry-stone walls. Its three primary structures are the Intihuatana, the Temple of the Sun, and the Room of the Three Windows. Most of the outlying buildings have been reconstructed in order to give tourists a better idea of how they originally appeared. By 1976, thirty percent of Machu Picchu had been restored and restoration continues. Machu Picchu was declared a Peruvian Historic Sanctuary in 1981 and a UNESCO World Heritage Site in 1983. In 2007, Machu Picchu was voted one of the New Seven Wonders of the World in a worldwide Internet poll.

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

MYTHIC MONDAY - EGYPT 34, HATHOR

“Not every man remembers the name of the cow which supplied him with each drop of milk he has drunk.” - Shmuel Yosef Agnon 

Hathor (Egyptian: ḥwt-ḥr; in Greek: Ἅθωρ, meaning “mansion of Horus”) is an ancient Egyptian goddess who personified the principles of joy, feminine love, and motherhood. She was one of the most important and popular deities throughout the history of ancient Egypt. Hathor was worshipped by royalty and common people alike. In tomb paintings, she is often depicted as “Mistress of the West”, welcoming the dead into the next life. In other roles, she was a goddess of music, dance, foreign lands, and fertility. She was believed to assist women in childbirth. She was also believed to be the patron goddess of miners. 

The cult of Hathor predates the historic period, and the roots of devotion to her are therefore difficult to trace, though it may be a development of predynastic cults that venerated fertility, and nature in general, represented by cows. Hathor is commonly depicted as a cow goddess with horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace. Hathor may be the cow goddess who is depicted from an early date on the Narmer Palette and on a stone urn dating from the 1st dynasty that suggests a role as sky-goddess and a relationship to Horus who, as a sun god, is “housed” in her. 

The ancient Egyptians viewed reality as multi-layered in which deities who merge for various reasons, while retaining divergent attributes and myths, were not seen as contradictory but complementary. In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, and associated with Bast. The cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor and men with Osiris. The ancient Greeks sometimes identified Hathor with the goddess Aphrodite.

Hathor had a complex relationship with Ra. At times she is the eye of Ra and considered his daughter, but she is also considered Ra’s mother. She absorbed this role from another cow goddess Mehet-Weret (“Great flood”) who was the mother of Ra in a creation myth and carried him between her horns. As a mother she gave birth to Ra each morning on the eastern horizon and as wife she conceives through union with him each day. 

Hathor, along with the goddess Nut, was associated with the Milky Way during the third millennium B.C. when, during the Autumn and Spring equinoxes, it aligned over and touched the earth where the sun rose and fell. The four legs of the celestial cow represented Nut or Hathor could, in one account, be seen as the pillars on which the sky was supported with the stars on their bellies constituting the Milky Way on which the solar barque of Ra, representing the sun, sailed. 

As Hathor’s cult developed from prehistoric cow cults it is not possible to say conclusively where devotion to her first took place. Dendera in Upper Egypt was a significant early site where she was worshiped as “Mistress of Dendera”. From the Old Kingdom era she had cult sites in Meir and Kusae with the Giza-Saqqara area perhaps being the centre of devotion. At the start of the first Intermediate period Dendera appears to have become the main cult site where she was considered to be the mother as well as the consort of “Horus of Edfu”. 

Deir el-Bahri, on the west bank of Thebes, was also an important site of Hathor that developed from a pre-existing cow cult. Temples (and chapels) dedicated to Hathor are:
The Temple of Hathor and Ma’at at Deir el-Medina, West Bank, Luxor;
The Temple of Hathor at Philae Island, Aswan;
The Hathor Chapel at the Mortuary Temple of Queen Hatshepsut. West Bank, Luxor;
The temple of Hathor at Timna valley, Israel. 

In Egyptian mythology, Nebethetepet was the manifestation of Hathor at Heliopolis. She was associated with the sun-god Atum. Her name means “Mistress of the Offering”.

ART SUNDAY - OLGA SUVOROVA

“I love Russia because Russia gave me you.” ― John M. Simmons 

Olga Suvorova is an internationally acclaimed Russian artist. She was born in St. Petersburg, Russia, in 1966. She studied monumental composition at the famous Ilya Repin Academy of Fine Arts in St. Petersburg. Her career has been greatly influenced by her parents, Igor and Natalya, both highly praised artists in St. Petersburg. Other sources of influence include Gustav Klimt, Piero Della Francesca, and traditional Russian icons.

Suvorova’s work was exhibited in the St. Petersburg Art Academy in a solo showing in the spring of 1990 where her paintings were received with great enthusiasm and praise. In 1993 she was awarded first prize for painting by the Academy. She also was honoured with President Yeltsin’s Artist prize from a competition in which more than 3,000 artists took part. Presently, she is an accomplished and successful artist, possessing her own easily recognisable style, and busy with her exhibitions and commissions. She is a member of the Union of Artists of Russia.

The artist’s interesting portraits first gained her reputation in Russia, and then abroad. These tableaux have an eye-catching highly decorative style, which nevertheless does not become trite or facile. Filled with sumptuous detail and rich colour, the paintings possess harmony and a compositional formality that reminds the viewer of Renaissance masters. The effect is brilliant yet not gaudy, classical but not sparse, rich yet not glitzy. Her use of ornament and pattern reminds one of Klimt and Hundertwasser, but her meticulous drawing and modelling of form looks back in time whereas the artists aforementioned gazed into the future.

Suvorova exhibits regularly in Paris and London, and she has also exhibited in Italy, Germany, Sweden, Finland, France, Britain, Ireland, China, and the USA. Her work is highly regarded and eagerly acquired by galleries and serious art collectors around the world.

The painting above is one of her “Annunciation” canvases. It is replete with symbolism and as with many of her paintings, the portraits are flanked by florid decorative elements, which somehow remain non-intrusive, despite their overwhelming baroque omnipresence. Animals and flowers are another element that is an almost constant and universal accompaniment to the human figures, and here, birds complement the angels, whose widespread wings flank the Virgin. Mary’s face is mature and pensive, as though the annunciation has already converted her into an all-knowing and experienced woman and mother, rather than a simple and innocent maiden. The ultramarine blues are complemented by reds and yellows, but the viewer always returns to the expressive, although other-worldly faces.

MUSIC SATURDAY - JOHANN BAPTIST WANHAL

“What’s the definition of a minor second? Two violists playing in unison.” – Viola Jokes Compendium 

Johann Baptist Wanhal (May 12, 1739 – August 20, 1813), also spelled Waṅhal (the spelling the composer himself and at least one of his publishers used), Wanhall, Vanhal and Van Hall (the modern Czech form Jan Křtitel Vaňhal was introduced in the 20th century), was an important Czech classical music composer. He was born in Nechanice, Bohemia, and died in Vienna.

Wanhal was born in Nechanice, Bohemia, into serfdom in a Czech peasant family. He received his first musical training from his family and local musicians, excelling at the violin and organ from an early age. From these humble beginnings he was able to earn a living as a village organist and choirmaster. He was also taught German from an early age, as this was required for someone wishing to make a career in music within the Habsburg empire.

By the age of 21 Wanhal must have been well under way to become a skilled performer and composer, as his patron, the Countess Schaffgotsch, took him to Vienna as part of her personal train in 1760. There he quickly established himself as a teacher of singing, violin and piano to the high nobility, and he was invited to conduct his symphonies for illustrious patrons such as the Erdődy families and Baron Isaac von Riesch of Dresden. During the years 1762-63, he is supposed to have been the student of Karl Ditters von Dittersdorf, even though they were born the same year. Baron Riesch sponsored a trip to Italy in 1769, so that Wanhal could learn the Italian style of composition, which was very much in fashion. To return the favour, Wanhal was supposed to become Riesch’s Kapellmeister.

The details of Wanhal’s journey to Italy are scant, but it is known that he met his fellow Bohemians Gluck and Florian Gassmann in Venice and Rome respectively. The Italian journeys present the only knowledge we have of Wanhal writing operas: He is supposed either to have written operas over the Metastasian operas "Il Trionfo di Clelia" and "Demofonte", either by himself, or as a cooperation with Gassmann, where Wanhal supplied some or all of the arias; these works have been lost. In additions to his documented travels in northern and central Italy, Wanhal was supposed to travel to Naples – arguably the most important centre of music in Italy at the time – but never seems to have gotten there.

After his journey to Italy, Wanhal returned to Vienna rather than to go to Riesch in Dresden. Claims have been made that Wanhal became heavily depressed or even insane, but these claims are likely to have been overstated. During this period he is supposed to occasionally have worked as a de facto Kapellmeister for Count Erdődy in Varaždin, although the small amount of compositions by him remaining there suggests that this was not the full-time employment that would have been expected from Riesch, which may have been why he preferred it. There is no evidence of visits after 1779.

Around 1780, Wanhal stopped writing symphonies and string quartets, focusing instead on music for piano and small-scale chamber ensembles, and Masses and other church music. The former, written for a growing middle class, supplied him with the means to live a modest, economically independent life; for the last 30 years of his life he did not work under any patron, probably being the first Viennese composer to do so.

During these years, more than 270 of his works were published by Viennese composers. In the beginning of the period he was still an active participant in Viennese musical life, as is witnessed in Michael Kelly’s legendary account of the string quartet Wanhal played in together with Haydn, Mozart and Dittersdorf in 1784. After 1787 or so, however, he seems to have ceased performing in public, but he nevertheless was economically secure, living in good quarters near St. Stephen’s Cathedral. He died in 1813, an elderly composer whose music was still recognised by the Viennese public.

Wanhal had to be a prolific writer to meet the demands made upon him, and attributed to him are 100 quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal works. The symphonies, in particular, have been committed increasingly often to compact disc in recent times, and the best of them are comparable with many of Haydn’s. Many of Wanhal’s symphonies are in minor keys and are considered highly influential to the “Sturm und Drang” movement of his time.

Wanhal makes use of repeated semiquavers, pounding quavers in the bass line, wide skips in the themes, sudden pauses (fermatas), silences, exaggerated dynamic marks ... and all these features ... appear in Mozart’s first large-scale Sturm und Drang symphony, no. 25 in g minor (K. 183) of 1773. This kind of style also appears in Joseph Haydn’s Symphony No. 83 in g minor, "The Hen" (1785), and Muzio Clementi’s Sonata in G minor, Op.34, No.2 (circa 1795).

Here is Wanhal’s Viola Concerto in C major performed by the Suk Chamber Orchestra with Joseph Suk playing the solo viola. This concerto was written around 1763 in Vienna. Wanhal wrote several concertos for various instruments, of which two for viola have survived. Both are evidently not original compositions, but arrangements by Vanhal of some of his own works, a common practice of that time. The Viola Concerto in C major is based on Vanhal’s cello concerto in the same key.

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.