The flowers, they are one of the wonder on our planet for sure. I am not exaggerating; we may see them all around us and not notice when we look at them we feel some calmness and happiness in our soul.

And here is the proof! The magic of this nature goes back to the magic of ancient Egypt. Here is the tale of the wizard of Nymphaea, the Water Lily.

With a heartily thank to two honourable Egyptologists and friends of mine

http://Marc Chartier & http://Marie Grillot 🙏💖🙏💖

“Imagine it if in the hands or on the forehead of women, in bouquets mounted or on offering tables, in decorative friezes or floating on water features in gardens, the image of elegant blue lotus is one that is automatically associated with Egyptian civilization. ” (Jean-Pierre Corteggiani, Ancient Egypt and its Gods, Fayard 2007).

In his “General Overview on Egypt” Antoine Barthélémy Clot-Bey, evokes it thus: “The water lily is the famous Nymphaea lotus of antiquity. When the flood disappears, this aquatic plant covers the surface of its canals. immense leaves, in the middle of which stand out white or azure flowers, of the most elegant form. Its tubers were, according to what Herodotus reports, one of the foods most in favour among the ancient Egyptians “.

In fact, three different water lilies are usually listed on Egyptian soil: the pink Indian lotus introduced to Egypt by the Persians around 500 BC. AD; the white lotus which opens at nightfall and is characterized by its jagged-edged leaves, rounded buds, spreading petals and strong scent; the blue lotus, with its leaves with a linear edge, its tapered, pointed buds and its narrow, pointed petals.

It is the latter – the Nymphaea caerulea, lotus or blue water lily – that is most characteristic of Egypt.

With a suave and sweet aroma, it blooms during the day, opening at the first rays of the sun, then in the evening, closed for the night, it disappears under the water from which it will not emerge until the next morning. “Its yellow centre, with a blue outline, also evokes the sun in the sky” specifies Salima Ikhram. It is considered by the ancient Egyptians to be “the initial flower” and “the symbol of the birth of the divine star”. Thus, when it has finished its course, the sun takes refuge in the lotus to plunge back into the wave.And the cycle begins again every day and every night, since the dawn of time.

Symbol of birth, the lotus is also that of re-birth. “Chapter 81 of the Book of the Dead allows the deceased to assimilate to the renewed solar god. The vignette which illustrates it represents the skull of the dead springing from the water lily” specifies Isabelle Franco.

This image can only refer us to the magnificent polychrome wooden statue representing Tutankhamun whose head emerges from a lotus flower whose blue petals are open (JE 60723). Christiane Desroches Noblecourt analyzes it thus: “Symbolic image of the rebirth of the deceased, the head of the sovereign emerging from the lotus evoked the Horus-child: Harpocrates”.

This flower can also serve as a “support” for the four sons of Horus: “This representation appears at the end of the XVIIIth Dynasty, without real systematization at the beginning. Then the motif of the four standing figures, frozen in a precise order, on the corolla of the open lotus will be the standard cannon from the XXth Dynasty until Roman times …

The choice of the blue lotus is clearly related to the rise at this time of the Hermopolitan cosmogony. This presents, at the dawn of time, four male characters who fertilize the primordial lotus floating on the abyssal waters of the Nun (or the Nun himself, from which the plant will emerge); lotus from which will spring the solar child, and therefore Creation “… (Osirisnet)

The lotus was endowed with other functions, symbolic and mythological; it was used in particular to represent Upper Egypt, Lower Egypt has been associated with the papyrus. Thus the two plants are instituted as the “heraldic plants” of Egypt and are often presented linked to signify the union of the two lands.

It is widely used in the decoration of temples. This is how we find columns with loti form capitals – “they may have originally represented, writes Gaston Maspero, a bundle of lotus stems whose buttons, tight around the neck by a link, meet in a bouquet to form the capital “- and that often” the base of the columns is surrounded by leaves, the foot of the walls were lined with long stems of lotus or papyrus “.

The lotuses are very often represented in the scenes of the tombs. They are found on offering tables, in floral wreaths, on headbands worn by beautiful ladies, or, quite simply, in their hands and sometimes turned towards their nostrils …

As we can see on certain wall decorations, or pavements, which reach us from the Amarna period, the lotus, like the papyrus, expressed their freshness and their overflowing nature …

It is also very popular in goldsmiths where it is found in rings, bracelets, elements of necklaces or pectorals or in certain chalices which borrow its shape.

He was the emblem of the god Nefertum, son of Ptah and Sekkmet, “divinity of the pleasant smell”, appeared “like a lotus in the nostril of Ra”.

“Despite its brevity, comments Jean-Pierre Corteggiani, this [last] formula is important since, in addition to the allusion to the fact that the flower is breathed, it establishes a relationship with the sun, a link that underlines (…) the only other mention of the god in the oldest corpus of Egyptian religious texts: invoked as ‘image of Nefertum’, the lotus then becomes that of the primordial flower, ‘exit of the Nun’ [personification of the primordial waters existing before creation], d ‘where the solar child arises every day as he did the first time. ”

Represented in the “erotic” papyrus of Turin, above the heads of the characters, the lotus was famous, such as Ginko Biloba, for its tonic, narcotic and aphrodisiac virtues, against the effects of ageing or sexual “breakdown”.

The lotus was, therefore, for the Egyptians of antiquity, a flower, beautiful and fragrant, loaded with meaning, life, and promises …

http://Marc Chartier & http://Marie Grillot

sources:
Dictionary of Egyptian Mythology, Isabelle Franco, 2013
Ancient Egypt and its gods, Jean-Pierre Corteggiani, 2007
Egyptian Archeology, Gaston Maspero, 1910
General Overview on Egypt, Clot-Bey, Antoine B., Paris, 1840
https://digi.ub.uni-heidelberg.de/diglit/clotbey1840bd1/0200/text_ocr
osirisnet.net
The fabulous heritage of Egypt, Christiane Desroches Noblecourt, 2004

Of course, it’s the title of a book and a movie, and I was in Crete lately, not in Venice. And I’m still alive!

But when I was sitting at the beach almost alone and as I felt this total solitude, how beautifully it came to my head once the scene of the end of Luchino Visconti’s masterwork, when Dirck Borgarde in the movie: Death in Venice, as Gustav von Aschenbach (actually Gustav Mahler) sitting in his chair in the last minutes of his life, regards the perfect beauty, I thought; isn’t it an ideal death?,,

I don’t know if you have seen this film or are interested in such neorealist Italian movies (I love them all!). It was made in 1971. I saw it some years later, the interesting mix of three Genius Artists: Thomas Mann, the writer, Luchino Visconti, the director and Gustav Mahler (I think he had a unique view of beauty). It makes perfect sense!

Oh yes, the Beauty is, as I think, the most adorable questionable issue of all time! I say this because I, myself, am not and will never be a homosexual, though I had a lot of homosexual friends in Iran.! And I must say that they were all artists. Therefore, we have the same view on beauty, no matter what kind (you can understand what I’m talking about). Beauty was the matter.

In this movie comes first the Author, Thomas Mann https://en.m.wikipedia.org/wiki/Thomas_Mann. He was a homosexual. Gustav Mahler https://en.wikipedia.org/wiki/Gustav_Mahler I don’t know if he was!? Luchino Visconti was a man who recognised beauty. I know that because I know some movies by him, especially Conversation Piece. https://en.wikipedia.org/wiki/Conversation_Piece_(film)

I can imagine that this one is unknown or might not be so famous, at least for you; as I may be allowed to mention, we, as artists, tried to survive in Iran. The bread was not the problem, but the lack of Art was the main one. That was the motive for us to catch up with all the good things which had to do with the arts. Therefore, we swallowed all the arts at any time (come what may). You know, in those days, Art had a meaning!

And I meant Art; I am convinced that Art is a gracious presence, or “the presence” of God, and it helps us without hesitation find our path, the way to a certain aim. That’s all I can imagine.

In this movie, Luchino Visconti chose an excellent set for his film; Burt Lancaster, an old master of the act. And Helmut Berger, an outstanding actor (plus a handsome Dorian Gray)

Look (searching) for the Beauty “In Meinem Lied”…

By making this video, Stephen Van Woert explains that Gustav Mahler (whom Visconti asserted to be Aschenbach in the film) composed “Ich bin der Welt abhanden gekommen” (“I have become lost to the world”) in 1901, ten years before his untimely death. He said of this music, “It is truly me!” The words are from a poem by Friedrick Rückert. If you want to understand Mahler and Aschenbach, you must understand the song’s meaning. Here is a translation:

I have become lost to the world Where I formerly wasted much time… It has heard nothing from me for so long… It may well believe me to be dead… It is of no concern at all to me If it takes me for dead

[These two lines are omitted from the video: I can’t at all contradict it, For in a real sense, I am dead, dead to the world]

I am dead to the world’s turmoil And rest in a quiet realm. I live solely in my heaven, In my loving, In my song!

That’s all about Arts and nothing else 🙏💖🙏😊

https://en.wikipedia.org/wiki/Death_in_Venice

I have here a good article about how two giant psychologists explain the finest curves of our soul.
I did my best to translate from Greek. thanks for your interests, blessing.

By SearchingTheMeaningOfLife

The psychotherapeutic art of Heraclitus, which can cure the disharmony that reigns in our psychic world but also in society.

In such a short phrase as the above, the great Ephesian philosopher Heraclitus – the so-called dark philosopher of the ancient Greek spirit – was able to capture the truth about the human soul, formulating it with simple and shocking clarity. Heraclitus holds a special place not only in ancient Greek philosophy but also in the field of -youngian mainly- psychotherapy since Heraclitus philosophy clearly influenced the Swiss psychiatrist and psychologist, Carl G.Jung.

Jung incorporated in his philosophical system but also in the methods of a psychotherapy that he applied, the famous Law of Crossing which is based on the philosophy of Heraclitus on the harmony of opposites. Jung attributed the inspiration and philosophical conception of this Law to Heraclitus himself, who was the first to speak of the urgent need to unite opposites, both in Nature and in man himself. Jung always tried – during his psychotherapeutic course – to spread a bridge of communication between two seemingly opposite elements in the personality of his patients: the conscious on the one hand (with rational thinking and critical mind) and the unconscious on the other. (with all his primordial and unruly actions.)

This coexistence of conscious and unconscious, with their diametrically opposed forces, was for Jung the key to the mental balance of every human being, just as for Heraclitus the wonderful order and function of the Universe was based on the harmony of opposite elements in Nature: day and night, light and darkness, heat and cold, winter and summer.

The Balance of Opposites
For Jung, the Law of Opposition is the wisest psychological law, as it serves man’s path to self-realization, through redefining and redefining his life.
According to the Law of Crossroads, when an energy flow, a psychic potential develops unilaterally and is consolidated as a way of life – without the completion of its opposite – it will reach the highest point of development and manifestation and then a diametrically opposite will follow.
of course from the original, so that the manifested psychic energy can include and assimilate its opposite, which until then had been neglected. Jung had said that every action always has two poles. The purpose of the Enantiopry is, therefore, the balance of these two opposite poles.

For example, when one has expressed a one-dimensional sexual life, based on intense erotic passion, pleasure, emotional excitement and instinctive arousal, but at the expense of his spirituality and the collective dimension of his soul (which includes the needs of others people, partners – erotic or not), with an axis of satisfaction only his own individual soul and its egocentric, narcissistic needs, then it will come at some point in the life of this person, an “unexpected”, shocking event (in the form of a serious accident or a catalytic “misfortune”), or an “unexplained” but persistent psychosomatic or organic symptom), or a prolonged, deep melancholy, or even a tyrannical ideology (like phobias, that did not exist before and seem incomprehensible, intense hypochondriac tendencies and obsessive-compulsive behaviours), which will manifest as a critical and decisive turning point. An almost borderline situation – between collapse and elevation -, a balance into enabling the hitherto one-sided and egocentric expression of sexuality to be transformed into the emotional sharing with the other side and the recognition of a spiritual, higher dimension in the soul of the individual himself, which until then remained unfolded.

Sex life
The course of human sexuality for Jung is a perfect application of the Law of Crossing: It begins vigorously and rapidly in the instincts and passions, reaches maximum levels of climax, arousal and filling to follow in about middle age (the time point, where the Enantiodromia occurs) a gradual, downward course.
Instincts and impulses recede to enter more spiritual and psychic elements. Someone who does not take into account the manifestation of the Law of the Cross will be led, according to Jung, to sexual nerves and emotional disorders, the severity of which will depend on the life of the person until then.

The Law of the Crossing has its own consequences. A life focused solely on sexuality and sensuality will initially bring pleasure and satisfaction, but later on sexual dysfunction and depression. Of course, the Enantiodromia can be valid in the opposite case: Someone who lives a sterile – emotionally, erotically and sexually – spiritual life, for the sake of the intellect and at the expense of his sexual and material side, to feel – in some unexpected phase of his life – an unprecedented, erotic passion, so intense and insane, that it completely diverts him from the hitherto spiritual and calm course of his life. Or he may show symptoms of boredom, depression, emotional emptiness, which will always remind him that a part of himself – less spiritual but just as important – has remained unexpressed and incomplete.

Source; http://www.foodenergy.gr /

By https://searchingthemeaningoflife.wordpress.com/ With Thanks 🙏🙏💖

I must begin this post with a confession that I have never used a romantic poetic way in my life. I think that some of my wonderful friends who are great poets have noticed that I am not the one and they may be righ” 😁😉

Therefore, I want to present this post to these appreciated poetesses and poets. especially; Holly @hrenehunter https://houseofheartweb.wordpress.com/ , Yassy @yaskhan https://yassy66.wordpress.com/ , Lance Sheridan https://lancesheridan.com/ Deborah Gregory @liberatedsheep http://theliberatedsheep.com/ Mike Steeden @michaelsteeden https://mikesteeden.wordpress.com/ And surely many others. 🙏💖🤗💖🤗🙏

When I was young, I chose the way of logic; although likely read the romantic novels and even when I got into the world of theatre, I used both methods of Konstantin Sergejewitsch Stanislawski and Berthold Brecht; though, there is a huge difference between them. Stanislawski believed that the actor(ess) must bring the character on the stage into life, and Brecht wasn’t agreed and wanted the Technique on the stage: {Epic Theatre}, but I used them both appropriately. You can find more here; https://en.wikipedia.org/wiki/Epic_theatre

First, let me tell you about the old style and the modern one in Persian poesy; the poesy in the old-time as belonging to the high society and the poets were appreciated by the kings and queens like in all countries; Athens, Romans, and Persians. In the old Persian, they had a special norm and regulation to write or make a poem; it had to have written in two sentences in the separated row with the same weight and in rhyme.

I have surely some favourites among those old poets; like Rumi, Khayyam and Hafez

But it never means that I wanted to block all the modern poesy in those days. My brother, Al, had a huge knowledge about the literature included poems, therefore, I was much involved in them. But my interest was not so strong as his, especially, when the modern poesy got famous in Iran and it was a very beloved subject in the meetings of the young intellectuals in some privet apartments, particularly after the Islamic revolution. We had a lot of discussions about the new poems and also there were young poets as newcomers and I had to challenge with them, then I had some problem to get accustomed to the new Poesy, I always meant that I had to understand it when I read a poem! They said that It might because of my lack of interest or understanding about the new wave but I had an argument: I answered I’d appreciate one of the new poets and it was him; Nima Yushij, the revolutioner who made a break in the old form of poesy in Iran and when I heard his poets I had not only understood it completely, it even had touched my soul.

Of course, these young poets were likely trying to get my approval for their own works and I was very amused when I once told a young poet “I like one of your piece” he was fascinatingly encouraged and happy!

Now let me introduce this great poet;

Nima Yushij

His real name is Ali Esfandiyari, he’s born in 1896 and lived till 1960, the eldest son of Ebrahim Nouri of Yosh (a village near Nour county in Mazandaran province of Iran), was born on November 12 1896. He was a contemporary Tabari (Mazandarani dialect) (my father has been born almost in his neighbourhood) and Persian poet who started a new movement in Persian poetry called she’r-e no (“new poetry”) or sometimes called she’r-e Nimaei (Nimaic poetry).

Here is one of his poets which might not be so famous but the one that hit my heart and soul. (as hard as it was I have tried to translate in English)

My House is Cloudy, by Nima Yushij:

my house is cloudy
the entire earth is cloudy with that
from the height, of the mountains pass, desolated ruin and drunk,
the wind whirls. and all the world been shattered by that,
and so my senses.
Ay, Player, that the sound of your flute brought you so out of road, where are you?

My house is cloudy
but, the cloud seems to pour rain
in the reverie of my clear days that have been lost.
I, into the facing of my Sun, carry a look at the threshold of the sea.
And all the world is ruined and shattered by the wind
and on the way, the player who blows into his flute in this cloudy world,
keep going on his own road.

And here is the original version;

 

As I have thought that in my latter post there are not enough pictures of this wonderful island (but more and again from a narcissist like me! 👳‍♀️) want to share more pics with you dear friends, especially the most are taken by my adorable wife who proves that women have a much more intensive sight than the men. 😁😎

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All pics are taken by my Lady, I wanted to put more pictures but it seems that I have a limited possibility. Have a wonderful week ahead lovely friends. 🙏💖🙏😊

Today is the day in which a great genius has been born and I think that we must be thankful for his being there to show us our so many unknown dark corners of our souls 🙏❤❤

Or an Adventure in the time of Corona!

Hello dear friends, Yes! We have done it; to spend our vacation in the other place, including taking the flight and bus and far away from home. And as you know it was surely not so easy as every year but as our big travel to the US failed out or cancelled, we had decided spontaneously (as my wife likely does) to fly to Greece. The main reason for this choice was not only the Sun and the Sea but the Greek people. I like them very much because, as I have travelled many times to many Europian countries, the Greek people were (and are) the most honest, free and easy taken ones.

In these two weeks in which I was away, I didn’t try to write something or even do much busy on the web, especially from WP. I had some ideas to write down but I didn’t, just had a short review here and there, now and then. {I hope one or two had noticed 😉} firstly because I wanted to company my wife, Regina, and she is not so interested in the social media, therefore, I decided to take a small distance to the internet and also it had done good to me, honestly!

Anyway, we flew to Crete on the southern side and I must confess that I had a seedy or shifty feeling as we arrived in the apartment in our facility; it was all empty of guests! we were the first and the only guest at least for the first three or four days. And also at the beach, there were very few people all around. For us, it was at one hand wonderful, calm and quiet, and on the other hand, we had sympathised with the natives who were suffering by this lacking tourists.

Now let’s have a look at what we had experienced on this wonderful island with abundant culture and history full of mythology.

Our main point, surely after our investigation all around the other places to see the beauty of the countryside, was the visiting of excavation of the Knossos.

In the beginning, we’ve met the turtles in some small pond, I’ll bet that most people stood most of the time to look at these beautiful and fascinating creatures!!

The Minoans are the primal ruler on this island; Crete; here I have seen a statue of the all-mighty woman on this island; Europe.

And down there it says; Europe is my name, I am the Daughter of Phoenician king Agenoras and mother of King Minos, creator of the Minoan civilisation (As I read this, I could hear her voice in my ears, I don’t know if someone else did it too!)

And in the end, I have just thought:

What a … is breezing so strong…

Of course, We have visited the “Waterfall” too, It was an amazing experience, surely with the Tarzan in it!!

The last Look;

Thank you all and I wish you wholeheartedly a much better life as ever (this can be needed always, believe me!)
And here a secret PS: as I was writing, it comes a warning that my storage space is full, then I had to act; to delete some. no problem I know the reason: no paying no action. And in the world of cash, it is normal.😏; I just remember on Hemingway’s “to Have or have not”; Herry Morgan quote on life: A man alone has no f…..g chance.
I love You All dear folk. 😉😍😘🤗😍✌🙏🙂😊😂😮😳🙃👌🤗😘😎🤑🤑🤑👳‍♀️😷🤟🤣

Natalia Goncharova is an artist, a paintress. I didn’t know her honestly and after watching a report on BBC TV, I have just wondered what a wonderful and genius woman is she; a Russian Frida Kahlo?

Let me first to announce that my wife and I have planned to take a trip (an adventure?) to Crete, Greece,(to meet Helios or his son Ilias 😉) or to spend our ( better to say; her) holidays. It might be risque but life, as I think, is full of risques and as I know my wife who can’t stay calm, I agreed to do it so. (Of course, I have finished the whole prosses with my gum-implant and also I was at Coiffeur to let cutting my hair!!) Let’s see what happens.

Natalia Sergeevna Goncharova; July 3, 1881 – October 17, 1962) was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer.

She was a stunning woman but as we, unfortunately, find permanently in our history, the genius artists like her, have to bear a lot of trouble to do their works. I have mentioned there above the name of Frida Kahlo ( Frida Kahlo) though, she had a better situation in Spain, but in our man’s world, these great artists always had to suffer some bullying and harassment in their life.

She has created her works, as an artist and a revolutioner had to do but because she was a woman, it has been forbidden to show her paintings (especially the naked women) it became worst for her after the October revolution(!) 1917,therefore, she had to emigrate to Paris (thanks France-Novum art) to continue. (1921)

I am very happy to have known her and her amazing works. I hope you will enjoy them as well.

Source; https://en.wikipedia.org/wiki/Natalia_Goncharova

When Art meets History! Let’s have a look at these amazing paintings which illustrated the beauty of the magical history of Egypt. With ever thanks to my adorable friend and Egyptologist Marie Grillot.

From French via; https://egyptophile.blogspot.com/

Lourens Alma-Tadema was born on January 8, 1836, in Dronrijp in the Netherlands into a very wealthy family. Very early on his artistic gifts were revealed. He then shared his life between his native country and Belgium where he studied at the Royal Academy of Fine Arts in Antwerp. He is passionate about historical and archaeological subjects, with inspiration from Greece, Italy and then, finally, Egypt.

This “orientation” which leads him to “paint pages of history”, he owes in large part to his archaeology teacher, Louis de Taye. Whoever becomes his friend puts many publications at his disposal…

“Alma-Tadema created his own specific visual representation of ancient Egypt in the context of his Orientalist colleagues such as Jean-Léon Gêrome, Willem de Famars Testas and Fredérick Goodall. He drew on academic sources such as his friend well-known Egyptologist Georg Ebers, just as he adopted virtual material from popular sources, such as illustrations by John Gardner Wilkinson, Manners and Customs of the ancient Egyptians “(” Alma-Tadema’s Egyptian dream: ancient Egypt in the work of Sir Lawrence Alma-Tadema “, Robert Verhoogt.

He frequents the Egyptian department of the British Museum. He will come back often to feed on the wonders found there and will be happily inspired by it for his “Egyptian” paintings.

As the New York Metropolitan Museum of Art points out: “In the mid-1860s, Alma-Tadema painted a number of subjects from ancient Egypt, in which convincing archaeological precision and astonishing liveliness seem to give life to a distant past. “
With “Egypt from the past 3000 years ago”, painted in 1863, the following year he won the Gold Medal at the Paris Salon…

In 1865, “Egyptian chess players” immerses us in an intimate game, bringing together three characters, concentrated on their game, while “An Egyptian at the door” puts us in front of a handsome young man with a questioning look. In 1870, his “Egyptian juggler” seems to evolve in a universe closer to Ancient Rome …

In 1872, he painted “The Death of Pharaoh’s firstborn” and “The Egyptian Widow” whose play of light for one, dark light for the other, transcends the dramatic intensity …

Then in 1874, “Joseph watching over Pharaoh’s granaries” brought together two characters in an attitude imbued with theatricality. There are scenes from the tomb of Nebamun that the painter had admired in the museum. “On the fresco behind Joseph, he reproduces the scene of the goose keepers prostrating before the deceased who inspects the herds. We distinguish his scribe on the left, a scroll under his arm, writing numbers. On the side, a standing man holds a stick and enjoins the breeders to sit down and be silent. The cartouche painted on Joseph’s seat depicting a scarab and a solar disk is that of Thutmôsis He who also reigned during the 18th dynasty. This double reference to a specific period of ancient Egypt owes nothing to chance. In the 19th century, in fact, researchers thought that it corresponded at the time mentioned in the Bible “…

After living in Paris, Alma-Tadema had settled in London in 1870 where he was appointed, six years later, a member of the Royal Academy.

On August 8, 1888, in the British capital, in the presence of other orientalist painters, Frank Dillon, Henry Walis, and the Director of the National Gallery Sir Frédérik Burton, he met William Flinders Petrie and Wallis Budge in order to alert them to the state of deterioration of Egyptian temples and tombs,…

In 1899, knighted by Queen Victoria, he became Sir Lawrence Alma-Tadema.

It was three years later, in 1902, at the age of 66, that he discovered Egypt! One of his connections, Sir John Aird, invited him for a 6-week stay, motivated in particular by the inauguration of the Assiut and Aswan dams.

On his return, he will order him a large canvas, the only one with Egyptian inspiration made after having discovered this country … Thus, “The Discovery of Moses” will see the day … A theme often represented but which is sublimated by the interpretation that ‘in fact the master.

One of the pharaoh’s daughters returns from the river where she bathed in the company of her followers … She is seated on a sedan chair supported by young men, with shaved heads, dressed in white loincloths. Two fan carriers dressed in white tunics fan it by means of ostrich feather fans: around their long handle is wrapped a lotus stem. A musician plays the lute while the following two carry a wonderful burden that the princess looks on with tenderness and gentleness: a basket decorated with lotus leaves in which rests the baby she has just discovered in the reeds: Moses … The princess and her following are beautiful, graceful, sensual. Their clothes are airy and vaporous, their luxurious ornaments, their romantic expression… We follow them in this procession which leads the child towards his new destiny. The Nile and its banks are suggested, and flowers seem to line the bottom of the table disseminating a wonderful shade of blue …

Sir Lawrence Alma-Tadema, Victorian academic painter, close to the Pre-Raphaelites, has exhibited his works in many countries, from Europe to the United States, and even to Australia…

Some sources even state that several of his paintings “would have belonged to the American director Cecil B. DeMille who would have been inspired by them for the decorations of Hollywood films with an ancient theme like Cleopatra”!

Died in Wiesbaden on June 25, 1912, he was later buried in Saint Paul’s Cathedral in London.

Marie Grillot { http://Marie Grillot }

sources:
Ancient Egypt by painters, Dimitri Casali, Caroline Caron-Lanfranc de Panthou, Seuil, 2011Flinders Petrie: A Life in Archeology, Margaret S. Drowerhttp://www.artrenewal.org/pages/artist.php?artistid=8https://lesdoublesviesdepompei.wordpress.com/2014/01/27/sir-lawrence-alma-tadema-1838-1912-au-musee-jacquemart-andre/https://www.metmuseum.org/art/collection/search/441350?fbclid=IwAR0rASwHljyhiScHm3skQkJl09pBIrvTzKTnEaX4vgqpmw86xB12nnlYl1wAlma-Tadema’s Egyptian dream: ancient Egypt in the work of Sir Lawrence Alma-Tadema, Robert Verhoogthttps://www.tandfonline.com/doi/abs/10.1080/08905495.2018.1484611?src=recsys&journalCode=gncc20https://www.wikiart.org/fr/lawrence-alma-tadema

“I was very happy, very. But as years went on, my dear boy would have wearied of his child-wife. He would have been more and more sensible of what was wanting in his home. She wouldn’t have improved. It is better as it is.

Oh, Dora, dearest, dearest,do not speak to me so. Every word seems a reproach!“

I was reading from Charles Dickens’ David Copperfield as I sat at the bed where my brother Al was lying; almost in a coma, I could only hear he’s breathing. We were in a hospital in a small town and doctors told me that there’s no chance because the tumour in his head was very vicious and predominant. I had no choice just sitting there beside him and read from one of his favourites…

“How the time wears, I know not; until I am recalled by my child-wife’s old companion (Jip) more restless than he was, he crawled out of his house, and looks at me, and wanders to the door and whines to go upstairs. “Not tonight Jip, not tonight!” He comes very slowly back to me, licks my hand and lifts his dim eyes to my face; “Oh Jip, it may be, never again!“

“He lies down at my feet, stretched himself out as if to sleep, and with plaintive cry is dead… Oh Agnes! (she’s come down) Look, look here!”

“That face, so full of pity and of grief, that rain of tears, that awful mute appeal to me, that solemn hand upraised towards heaven! Agnes?”

“It’s over, darkness comes before my eyes, and for me a while, all things are blotted out of my remembrance.”

I began my tribute with a masterpiece from Dickens’ book not only because of its brilliance and impressive power of his literature but also for Al’s loved it so much and I add this as a present and am sure that he’d like it. I read this book the whole of the ten days in which we were both in this hospital till the time had come. At the end of the book, we were separated.

It’s thirteen years ago on this day as Al passed away and left this earth but strangely, I have a feeling that I have got much nearer to him as before. Am I closer to the line to change the level too? I don’t know but anyway, I am very happy about this closeness, it helps me to remember more and more about our time we were living and fighting together through those over fifty years of our life.

I wish you all you dear a leisure and peaceful weekend 💖🙏💖

The pictures source:

http://A Useful Fiction – WordPress.com

http://The Victorian Web

Lester S. Levy Sheet Music – Johns Hop