Take a direct, simple story, unfold it with exquisite care, and the result is a gem of a play opening Northlighta€™s 37th season. The snapshots, originally photos clutched in their hands, become large projections on the paneled walls before actually springing to life in the form of two incarnations of their earlier selves: Susie and Danny (Megan Long and Nick Cosgrove) and Susan and Daniel (Jess Godwin and Tony Clarno). And what songs they are: 28 drawn from 12 successful musicals a€“ all written by Stephen Schwartz. The cast has remarkable voices, clear and compelling and their dramatic ability marches the timbre a€“ moving from humor to nostalgia with ease as past and present intermingle and advice is exchanged back and forth, neatly breaking barriers as they address their earlier selves. Kudos to Jack Magaw for the multi-level set, Karl Christian for musical staging, Steve Orich for Musical direction and arrangements, A and to the orchestra: Chris Sargent, Scott Reed, Paul Dallas, Jeffrey Handley and Marc Hogan. While Act I is stronger than the slower second act, by playa€™s end the viewers responded to much that reached their hearts.A  On opening night, not a few wiped away tears as they joined the rest of the audience for a standing ovation.
The idea works because of the originality of the set-up, but also because Schwartz's songs, filled with aspiration and quizzical wonder, fit the basic premise so well. I could go on about many more such inspired musical choices here, most of which are beautifully sung, especially by Long and Clarno. I imagine Schwartz aficionados will enjoy Snapshots as a clever twist on the revue or jukebox musical, but I was impressed that it also works as something entirely new. Touching musical comedy at Northlight blends new lyrics to familiar Stephen Schwartz music. A At the center of one of the most highly anticipated productions of the Northlight Theatre's 2011-2012 season, Snapshots (music and lyrics by Stephen Schwartz, book by David Stern and directed by Ken Sawyer) are Dan (Gene Weygandt)and Sue (Susie McMonagle), a long-time couple that have been friends since childhood, back when they were still known as Danny (Nick Cosgrove) and Susie (Megan Long). When the play opens, Sue, dissatisfied with the state of their marriage, is up in the attic of their home, suitcase packed, in the middle of writing Dan a letter explaining that she has decided to leave him. While puttering around in the attic, talking with Sue, he comes across a box of snapshots on the floor, much of its contents spilled out.
Though they do love and care about each other a great deal (therea€™s no doubt about that), therea€™s also no denying that there are real problems in the relationship. SNAPSHOTS is a new musical by the amazing Stephen Schwartz (Wicked, Pippin, Godspell, The Bakera€™s Wife)!!
A group of very talented theatre folk and myself formed a theatrical production company called Cardboard Belt Productions. When a box of old photographs tumbles from a dusty attic shelf, Dan and Sue are flooded with memories of their many years together. In many ways, "Snapshotsa€? marks Schwartza€™s return to smaller, more intimate shows.
Lyric rewrites have made many of Schwartza€™s retrofitted songs more suitable for their new settings, but too often I found myself imagining them in their original contexts. Stern has crafted a book whose well-drawn characters and realistic situations offer something every audience member can identify with. The authors have opted to ignore conventional uses of time and space, a ploy that results in the past intruding on the present and vice versa: a charactera€™s older self giving advice to his more youthful counterpart, and a young girl questioning the woman she fears shea€™ll become.
Snapshots will open the 2010-2011 season.A  The remainder of the season will be announced soon. Blending together some of the best-loved music with some of the genuinely wonderful lesser known gems of renowned Broadway composer Stephen Schwartz, this touching romantic comedy exposes a marriage at a crossroads.A  Newly adapted, this musical reveals the humorous twists and unexpected turns of a middle-aged couple's reminiscence of how love brought them together and why life pushed them apart. Relevant Theatricals and Cardboard Belt Productions have been developing this project for the past several years and most recently workedA on the musical with David Stern, Stephen Schwartz and the creative team in preparation for its Chicago premiere.
Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community.
Snapshots may be available for licensing in the future, and will be appropriate for groups who need a small show, as it involves only six actors, four musicians, and a single set. Bookwriter David Stern brought Stephen Schwartz the idea of using a compilations of Schwartz songs to create a musical scrapbook of a couple's life. This article on age gap relationships is a response to the relationship question asked by Niyi about an older man younger woman relationship prospect. I am 35,good looking and looking younger than my age, never been in any relationship in my entire life. Say you talk to her, and she's into you too, or feels she is (some young girls in school actually date much older men deliberately to set themselves apart from other school girls, in attempt to show they're more mature and therefore don't date small boys like other girls. But at 20 and in college she likely will be more interested in socializing with her kind including dating boys in school.
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If you don't mind finding love somewhere else, then why not consider setting up a free profile on this site to look for a wife. DESCRIPTION: While some earlier scholars would have labeled these maps as a€?the epitome of medieval European cartographya€?, due to the very ecclesiastical form and content, they were, indeed, an exception in this perioda€™s mapmaking. In his recent book, Body-Worlds, Opinicus de Canistris and the Medieval Cartographic Imagination, Karl Whittington writes that on the 31st of March, 1334, this Italian priest named Opinicus de Canistris fell sick. As mentioned above, Opicinusa€™ drawings survive in two manuscripts, both kept in the Vatican Library in Rome. There is no way of knowing how many other drawings Opicinus completed, and certainly no reason to believe that all or even a majority of his works have survived. Victoria Morsea€™s 1996 doctoral dissertation for the first time performed a large-scale study in order to demonstrate the logic of Opicinusa€™ works.
It was not unusual during the later Middle Ages to bring together the body and the earth in pictorial representations. The relationship on the page between texts, diagrams, and pictures throughout Opicinusa€™ work is an especially important issue. According to Whittington the captions on most of the drawings seem to interact with them in the following way: Opicinus created the visual material first, usually to address a particular theological question or theme.
The elaborate, complex, and beautiful drawings that Opicinus created in the years following his illness and vision are the subject of this monograph. What we see, then, is an embodied map a€” a picture of the eartha€™s surface that is also a depiction of human bodies. Opicinusa€™ beliefs and hypotheses about the earthly, the heavenly, and the human are encoded in the very structures of his drawings. Over half of Opicinusa€™ 80 drawings in the Vaticanus and Palatinus manuscripts include at least part of a portolan chart. Opicinusa€™ body-maps are far more complicated than any of the examples above, and the question of what they mean is more difficult to answer. In a number of drawings, Opicinus used the most basic form of the body-worlds - presumably the one that he describes having received in his 1334 vision.
As in all of Opicinusa€™ drawings of the body-worlds, each figure takes on a specific identity, though in this example these identities are complex. It seems most likely that the figure depicts a sort of hybrid a€” a personification of Christianity, with Christ at its head and its heart, surrounded by elements of the cosmic order. Its chest is bare (we can see the cloak falling away from the shoulder on the northern coast of France), but the lower roundel covers the place where a breast is often revealed in Opicinusa€™ female European figures.
In three folios near the end of the Vaticanus manuscript, Opicinusa€™ cartographic drawings add one more layer of meaning on top of the basic arrangement outlined above: he superimposes a gridded local map of Pavia, his hometown, on top of a single portolan chart. According to Whittington the precise placement and scale of the two maps is certainly not accidental; the maps have been placed in a precise relation to one another in order to create and explain correspondences between them. In contrast to this relatively simple correspondence, another caption shows how complicated his spatial interpretations could become. As a final word on this drawing, I want to return to one more visual feature: the form of the local city grid.
In the two previous examples, Opicinus constructed a drawing using only one portolan chart; on fol. This doubling and mirroring of the portolan chart served a specific purpose: as Victoria Morse has argued, it allowed Opicinus to contrast the world as it was seen and known with the possibility of an alternate world converted to a state of grace. Each of the four land-figures bears an emblem on its chest a€” these signify the intention or motivation of each character.
On the bottom half of the page, however, similar captions placed on the white chart actually point to cities on that chart, rather than on the one below. Even after all of the figures in the drawing have been identified, its meaning remains elusive.
There is one caption on the page that offers a tantalizing comment on its form and content.
This quoted caption outlines the general principle that Opicinus follows in these drawings that employ mirroring or correspondence a€” that the multiplied forms are generators of multiple truths and realities. Many Vaticanus drawings contain more explicit imagery of birth and reproduction; metaphors of birth and rebirth seem to have been one of Opicinusa€™ primary ways of expressing the spiritual transformation that he underwent following his illness of 1334. The interest in the local ramifications of the pregnancy of the European figure is explored even more closely in two drawings in which Europe is actually pregnant with a tiny map a€” fols.
DESCRIPTION: A good example of Protestant theologian Heinrich Buntinga€™s Europa, Europe as a Queen.
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The playa€™s book is by David Stern.a€?a€?Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots. Just as shea€™s almost done, about to make the move and leave, Dan comes up, genuinely confused about what she might be doing up there.A Rather than giving him the letter or informing him of her plans to leave him herself, she comes up with an excuse. While he gathers them up, one in particular catches his eye -- a photo taken during a trip that they took to the Caribbean many years earlier.
Much of the time they act as if they expect one another to be mind readers, each expecting the other to just somehow know what they want them to do or say.
Ten years ago we began working with Stephen Schwartz and David Stern to bring this fantastic musical to the stage. The playa€™s book is by David Stern.Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots. In addition to capturing a moment in time, they hold myriad memories for those whose images are pictured within. A cast of six portrays Dan and Sue at three stages in their lives: as childhood friends, as newlyweds and as a couple whose 30-year marriage is falling apart. As they reflect on their past, they recall happier times they spent together, a few missed opportunities and some of the inevitable challenges every couple faces.
It shares similarities with Dan Goggina€™s "Balancing Act,a€? a chamber musical with a main character whose conflicting personalities are played by five actors. Who doesna€™t remember a first crush, an awkward first kiss, rites of passage and missed opportunities? Evans announce the first show of Northlight's 2010-2011 season, A Snapshots, a new show described by the authors as a "musical scrapbook," that includes some of the best-loved music and lyrics by the creator of Wicked, Godspell, Pippin!
He collaborated with Leonard Bernstein on the English texts for Bernstein's Mass and wrote the title song for the play and movie Butterflies Are Free. Ken is a BFA graduate of The Juilliard School.A  He is also an alumnus of the Lincoln Center Director's Lab West and the LaMama Italy International Directors Workshop. Several theatre groups staged new versions of it in the summer of 2007, including Dayton, Ohio's The Human Race, whose production is pictured in the photo with cast members Kristy Cates and Michael Marcotte.
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A few people have now found true love and hoping to soon make a life time commitment to eachother by getting married. Opicinus was a minor functionary and scribe at the papal court, which had moved to Avignon some thirty years earlier, and luckily for us he kept a kind of day-book that still survives. Numerous scholars such as Camille, Kris and Salomon point to Opicinusa€™ a€?frequenta€? self-representation in the drawings. Medieval mappaemundi often organized the land-forms of the earth around the shape of a crucifix (sometimes even a cruciform body), medieval astrological drawings commonly showed human figures at the center of cosmic and planetary networks, and the concepts of macrocosm and microcosm had been fully developed for a millennium. It is possible, and productive, to partially separate Opicinusa€™ texts from his diagrams and pictures, especially those that represent his body-worlds vision.
Opicinusa€™ works present a conundrum when it comes to audience and reception, since there is no textual or visual evidence that anyone ever actually saw the drawings. Their unusual forms complicate our most basic assumptions about what and how medieval artists could represent.
These structures form the core of the drawingsa€™ disorientation and strangeness a€” maps are piled on top of other maps, sometimes transparent and sometimes opaque, in a seemingly endless play of permeability and superimposition. Some drawings contain one chart, others up to four; sometimes the continents and seas are embodied, while other times they are left plain. His drawings are so diverse and disorienting that generalizations about their design or meaning are difficult and often misleading. These drawings depict a single Africa and a single Europe, separated by the Mediterranean Sea.
The figure of Africa appears to be a woman; she is labeled Babilon maledicta [cursed Babylon] by the small caption above her forehead.
Captions suggest various identities: Christ, Opicinus, and a female personification of prudence are all indicated. The face is smooth and beardless (many male figures in Opicinusa€™ work wear beards), and has long, flowing hair. According to Whittington it is mainly a confrontation between two figures: a figure of Babylon (probably representing Islam) and a figure of Christianity. This interplay between the local and the global is not unusual within Opicinusa€™ texts and captions on other drawings, which often comment on the everyday world of his youth and family (we must remember that he made these drawings in Avignon, not Pavia), but the specific visual alignment of parts of Pavia with parts of the Mediterranean region is unique in these three drawings. In the bottom right corner of the page is a caption that reads, a€?Just as the islands of purgatory pay a tax to the Roman Church, so too the Chapel of St. Opicinus seems to say that when any two maps are placed in relation to each other, if they are true empirical representations of Goda€™s created earth, one will find correspondences between them. One interprets the significance of the placement of Opicinusa€™ home parish district, around the Chapel of Saint Mary, delineated with a red outline near Tunisia and Sicily on the lower map. 84v each part of Opicinusa€™ hometown is given multiple interpretations, usually based on its placement on the portolan chart, but other times simply based on etymological connections, family stories, dreams, or coincidence. Certainly the drawing contains multiple levels of reality: it is an allegorical depiction of three body-world characters in contact and dialogue, a depiction of the structural connections between local and regional realities, and a series of interpretive musings about the significance of these connections for Opicinusa€™ own life and family. As the reader may already have noticed, this grid strongly evokes the rhumb-line grids that were placed over contemporary portolan charts.
61r he uses the skeletons of two portolan charts of the Mediterranean region, which have been rotated and overlapped to form one image. 61r, parts of each of the charts remain intact, while others are distorted or hidden by the overlapping forms. In this particular example, the map shows the natural world at the bottom and the spiritual world at the top: labels on the drawing indicate that Affrica naturalis ypocrita and Europa naturalis occupy the continents of the smaller chart while Affrica spiritualis and Europa spiritualis talk to each other in the larger chart above. Europa naturalis bears a tarasque (a river demon from the Rhone) and Europa spiritualis contains an image of Christ showing his wounds, his side-wound situated suggestively close to Avignon, where Opicinus was living when he made the drawing. The message itself is simple enough: one must abandon the external senses that lead to sin in order to follow the internal senses to redemption.
58r of the Vaticanus Opicinus combines four small embodied portolan charts to create juxtapositions between the four seasons, the four cardinal directions, and the four states of the soul. 82r, we see many of the principles and techniques of the other drawings pushed to the limits of recognition and interpretability. On its surface lie two complete portolan outlines that retain the white color of the paper. On the upper half of the page, the brown labels all point out the location of cities on the colored chart, even though all lie on the space of the white chart; they indicate the continued presence of the map below, even when it is obscured by the upper chart. At the precise center of the drawing, a cruciform shape is formed by the two mirrored shapes of Asia Minor and the Holy Land; Asia Minor forms the two arms, and the land below forms the body of a cruciform vestment. While other drawings seem designed to convey a single allegory or a primary confrontation between figures (which are often reinforced by the particular cartographic forms that Opicinus chose for the drawing), this drawing resists this type of analysis. According to the letter, this is a heretical position, since one species cannot be transformed into another. 84v, there are several depictions (or suggestions) of male genitalia in the Vaticanus manuscript, each of which is unique. 1350), a Pavian who worked at the papal court in Avignon, drew a series of imaginative maps, while acknowledging in a text written between 1334 and 1338 his use of nautical charts. For example, if you are an adult, then you should go to the internet adult website to find your partner and if you are a mature person and want an affair with an open relationship partner. Instead of veering up and requesting a mobile phone number or salsa, you have to quite recently run with discover dating singles locales for discovering your accomplice neatly build up yourself in a casual, inviting way, and talk about the most general prosperity. Therefore in the beginning two to three times should be strictly in public or in a secure place. Now a day, lots of ways to find local singles in second partner for dating in the local area.
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In Australia, giving out the charge of a date, be it a show or banquet, is completely tolerable.
While it is not a first-date move about, Aussies love very much gathering ‘mates’ (be they associates or love well being). One of the first priorities of the work was a complete examination of all previous exploration and excavation in the precinct, particularly that of Margaret Benson carried out in 1895-7.
What might be clunky in other hands, flows smoothly under the expert direction of Ken Sawyer. He shows up from work, oblivious as ever, and the two end up looking back through their lives as lovers, parents and take-each-other-for-granted spouses, with the wife's impending exit providing the requisite tension. Press about this show has revealed that Schwartz has re-written some of his lyrics to fit the new narrative, but other than noting such changes in a couple tunes from Wicked, I have no idea what was altered or to what extent.
Ita€™s a creative endeavor that works well.a€?a€?The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes.
While they are up there, Dan starts to go through the items that have gathered over the years, pointing out what he feels they can get rid of. It is also through these glimpses, these memories, that we learn about what really happened versus how they remember certain events in their lives happening, how they went from childhood friends to married couple, to married couple on the verge of breaking up after decades of being together. Indeed they go to great lengths not to talk about anything of substance, to avoid any unpleasantness or arguments. We then teamed up with Relevant Theatricals (Million Dollar Quartet) and have workshopped SNAPSHOTS at Theatre Works, The Village Theatre, The Human Race Theatre, Seaside Music Theatre and more to come.
Schwartz has taken his most famous songs and brilliantly reworked them into an entirely new powerful book written by David Stern. Ita€™s a creative endeavor that works well.The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes.
They also have the power to rekindle powerful emotions years, even decades, after they were taken. Schwartz has rewritten many of the lyrics to even the most familiar songs, to stay true to the fascinating story and characters of this new work.A  Funny and bittersweet, Snapshots brings into focus all the wonders and frustrations of trusting your heart and believing your memories. Schwartz was intrigued by the notion, and gave permission for the concept to be developed further. The first lady I'd ever feel could be a wife is a 200 level college student in somewhere around 20. Often you'll hear them say they can't marry a man that is more than 3 years older than them. Especially if she later finds a man within her own age that interests her; which she likely would.
And your age gap could cause you to always worry about her leaving you for someone younger if she accepts to have a relationship with you. In a passage that describes what sounds like a stroke, Opicinus details how his body slowly became paralyzed; he temporarily lost his ability to speak, and much of his memory.
Opicinus almost always dated the Vaticanus drawings, which were composed between June and November of 1337.
The passage describes a visionary experience: through oculus meis interioribus, Opicinus is granted a new view of the earth, one in which the land and the sea take on human attributes. Most examples, however, lie in the realm of the theoretical, the academic, or the theological. A significant problem with many previous studies of Opicinusa€™ drawings is that they take a few lines of text, from folios of the Palatinus, or from distant pages of text in the Vaticanus, and use them to a€?explaina€? the content of Opicinusa€™ strangest imagery. The captions (and some of the texts), then, are often the evidence of Opicinusa€™ self-analysis a€” he uses himself as a case study, personalizing the drawings through the text.
Simply put, we do not know if they were ever viewed as more than a curiosity by those who encountered them.
Visual parallels to these drawings certainly exist: body-maps have been produced in numerous periods, including such famous examples as the Ebstorf Map (#224, Book II, a medieval world map that placed Christa€™s body in the corners of the earth), the Leo Belgicus (a map of the Netherlands and Belgium formed into the shape of a lion, the earliest example of which dates from 1583), or the Europa Regina, a depiction of Europe as a royal female (see below). In these drawings, Opicinus was not trying to express a single concept or doctrine, but rather to visualize the possibilities raised by an entire new way of looking at the world, based on what he had seen during his visionary experience of 1334. The varied formats of these diagrams cannot be taken for granted a€” their arrangements form a crucial and underexplored aspect of their meaning. But looking at them as a group, perhaps the first thing one notices is that the map itself is incredibly accurate.
The drawings in this first a€?categorya€? are not all alike, and there is no evidence that Opicinus thought of them as a group, but finding language to describe and categorize their forms is a critical first step in their interpretation.
This folio includes a cartographic picture in the upper two-thirds of the page, and text at the bottom. She is a rare example of a figure with a distinct racial identity: Opicinus darkened her skin with a grey-brown wash, in a clear reference to an African or Middle-Eastern skin tone.
One could even identify Europe in this drawing as a kind of conglomerate figure of Christianity.


The strongest indicator that the figure is female is the small child lying over Lombardy a€” the area always associated with the womb of the European figure. The simplicity of this contrast stands out despite the extensive texts and interpretations written around it. Binary themes in similar drawings include a contrast between the mouth of hell and the temple of the Lord (fol. Opicinus played with this arrangement differently in each of the three drawings, changing the scales and position of the two maps, presumably seeking different correspondences. On the page we see the body-worlds with which we are now familiar: here, a female Europe confronts a female Africa, and the Mediterranean devil lies between them, his head to the east. 84r, in which the scale of the portolan chart is completely different (much smaller in comparison to the grid of Pavia); here, Opicinus identifies different correspondences and comes to different conclusions as a result of the change in scale. Yet the drawing is all about experimentation, layering, and play; to claim that creating or interpreting a drawing like this is a burden or struggle may be a modern misperception. But Opicinus piles on meanings, multiplies forms, and plays with realities seemingly as a form of experimentation.
The grid may offer a clue to Opicinusa€™ working process, or the way he was inspired to create these drawings.
Each of the two charts is rendered in a different scale, with a larger one oriented toward the top of the page and a smaller one pointed toward the bottom.
On each map, the western Mediterranean retains its integrity a€” France, Spain, and the northwestern coast of Africa are clearly visible both at the top and the bottom of the page. In the Italian peninsula of the upper map, for example, which is overlapped by the eastern Mediterranean of the lower map, we see the word Roma written over the sea (on the sea-mana€™s forehead), signaling where the city would have been on the map below.
Both figures of the a€?natural worlda€? are male (a bearded, older figure in Europe and a tonsured monk in Africa), while both of the a€?spirituala€? figures are female (Africa is a robed nun and Europe is a younger woman with long, flowing hair).
The question, just as in the previous examples, is how its meaning is changed, activated, complicated, or simplified by its construction within the doubled and overlapped forms of the portolan charts.
Within the drawing, small lines suggest points of correspondence between elements in each of the four quadrants. The three previous drawings were characteristic of a particular type; in contrast, this drawing is unique in Opicinusa€™ oeuvre. At the top of the page are two labels for Europe and Africa: Europe is the aduena rector novus, the strange new priest, and Africa is the parrochia aliena, the parish of another. This is labeled in a caption on the right side of the page, which reads a€?behold the vestment of the Church soaked in blood.a€? Opicinus accentuated the form of the vestment by adding a small cutout for the neck. The longer captions on this folio do not always contain a single focus, and many make no comment at all on the drawing.
But spiritually there is truth in this mirror [i.e., in this drawing], since no heresy, fiction or allegory can be found that in this mirror does not give birth, at least in part, to a certain truth?
Here, Opicinus seems to say that men do not transition literally into angels of light or darkness a€” the figures of the priest and parish at the top of the page do not actually become the figures at the bottom of the page. Even as Opicinusa€™ drawings make use of the natural world and empirical science, the arrangement of their forms expresses the detachment from reality that characterizes a dream. At first, we would not identify these as genitalia a€” they are simply two small, robed bodies that stand within the genital region of the European body. Four of these drawings depict the body-worlds, and the reproduction always takes place within the body of the European figure.
In each of these drawings, Opicinus drew a small copy of the body-worlds over the area of Lombardy, even extending it slightly into the sea near Genoa.
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Their younger selves, variously played by Megan Long, Jess Godwin, Nick Cosgrove and Tony Clarno, act out vistas from their lives, singing Schwartz as they go, often with lyrics newly penned by the composer himself. Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.a€?a€?Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos.
Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos. A Snapshots, with book by David Stern, music and lyrics by Stephen Schwartz, A direction by Ken Sawyer, musical staging by Karl Christian, and musical supervision and arrangements by Steve Orich, will run at Northlight Theatre, 9501 Skokie Blvd in Skokie, September 16 - October 23, 2011. For films, he collaborated with Alan Menken on the songs for Disney's Enchanted as well as the animated features Pocahontas and The Hunchback Of Notre Dame and wrote the songs for the DreamWorks animated feature The Prince Of Egypt.
Early versions were produced in the mid 90s, and over time, it evolved in terms of the story and the lyrics. Considering the age gap, I get disturbed that she might not want to marry somebody of my age. There are 20 year olds who are mature enough to know what true love means and what commitment is all about.
He returned to these folios frequently in the years that followed a€” many include changes, graphic additions, or new captions, which he dated individually (we find dates from the years 1338-1341, especially). Morsea€™s other crucial innovation, in addition to asserting the rational and intentional basis of Opicinusa€™ thought, was to place the Vaticanus manuscript at the heart of her research. Salomon and others characterize the themes of the Vaticanus manuscript as just an extension of those in the Palatinus.
The shapes of Europe, Africa, and the Mediterranean Sea each contain (or form) a human figure; these are the forms that Whittington calls a€?body-worlds,a€? and they constitute Opicinusa€™ most original and perplexing contribution to 14th century visual culture. One of the things that makes Opicinusa€™ drawings so unusual is that they also incorporate a visual tradition that was practical, empirical, and scientific a€” medieval sea charts, usually called portolan charts. He often kept adding to the drawings over many years, including new details or textual explanations, and dating them to a specific day. As mentioned above, it seems possible that the Vaticanus was never meant to be viewed by others; much of it is arranged chronologically (like a diary), rather than thematically, and the subject matter of the texts and images suggests a private function.
The meaning of such imagery obviously depends on context, but these diverse examples demonstrate how a land, country, or region has often been embodied within a human figure, to show the potential power of that space, or even the dominion of a figure over it. The images of Africa and Europe as human figures were the core of this experience, but the interpretation of the vision was left up to him. According to Whittington the formats of Opicinusa€™ body-world drawings can be grouped into four categories: (1) single portolan charts, (2) portolan charts overlapping with local maps, (3) multiple portolan charts overlapping with each other, and (4) multiple, mirrored portolan charts. The coastlines of the Mediterranean and the relative scale and position of the landforms are almost exactly the same as we know them to be today. The figure appears to be bare-chested, although no breasts are visible (perhaps they are covered by her long hair). But the label above the head of the figure seems to identify it as Opicinus assuming the identity of a€?the house of God.a€? Another caption in the Mediterranean Sea off the southern coast of France labels the figure as an Ymago Prudentie. The fact that the face is labeled as Christa€™s would indicate on the surface that the figure is male. Yet beyond the basic characters and the captions, the drawinga€™s meaning is clearly activated or shifted by the placement of the two personifications within the geographical forms of the portolan chart; after all, it is not difficult to imagine a much simpler way to express this confrontation, using only pictures and no maps. The scene is full of interesting and surprisingly graphic details, many of them interpreted in the marginal texts. Such interpretations are, I think, meant as models; as Morse demonstrated, Opicinus hoped that the drawings could be used by others to probe their own consciences and personal histories. Many parts of it must have been intentionally humorous, such as the basket for collecting the sea-mana€™s excrement, the graphic sexual organs, the interpretation of the Europe womana€™s pearl earrings, or the depiction of the Africa womana€™s cloak as a green river.
Even when texts in the Vaticanus indicated the stressors in Opicinusa€™ life a€”spiritual, moral, legal a€” the drawings remain exploratory and even lighthearted. Without any words from him on the subject it is impossible to know where such an idea comes from, but perhaps the grids on the portolan chart(s) from which Opicinus was working reminded him of a gridded map of Pavia that he had seen, or perhaps even made. The mapsa€™ superimposition encourages the viewer to seek correlations between them, and Opicinus reinforces these correspondences by drawing actual lines and lines of text to connect various parts.
He grafts a spiritual system of correspondences and coordinations onto this new representation of the physical world, but specifically includes details that undermine both systems, seeking instead a negotiation between the two.
The rota on the breast of Affrica naturalis shows the mental processes that lead to sin: thinking, imagining, deciding, and delighting in (cogitatio, ymaginatio, electio, delectatio) lead the sinner to consent to sin (consensus peccati). These can either connect the same geographical location between two separate maps (as in the line drawn between the two Carthages on the upper left map and the lower left map), or establish a point of contact between the same physiological parts of two body-worlds on the same map (as in the line drawn between the reproductive areas of the Europe-woman and the Africa-woman in the upper-right map).
It contains four complete portolan charts, all the exact same size, placed in careful relation to one another through overlapping and mirroring. This is different from the numerous drawings in the previous category, in which the two charts overlapped one another; here, the two white charts on the surface of the page are both complete diagrams of the region, reflecting one another along an invisible horizontal line in the Holy Land and Asia Minor. The figures seem to present the encounter between a new priest and his new parish (a situation that Opicinus underwent several times in his early career). The role of this form in the drawing is ambiguous a€” its cruciform shape and its a€?soaking in blooda€? certainly evoke Christa€™s sacrifice, and its position at the heart of the drawing, precisely where the two white maps are mirrored, suggests that it may be significant in the transition between the two. One caption on the left side of the page is a short rant about the mosquitoes that were bothering Opicinus while he made the drawing, while another, longer text at the lower left is an extended metaphorical description of the penis, describing how, like a heretic disobeying the Church, the penis disobeys the orders of the body. It is the caption that tells us something different; over their heads are written the words a€?matrixa€? and a€?virgaa€? a€” womb and penis.
Representing pregnancy and birth inside of Europe was a way for Opicinus to convey how both good and evil tendencies enter the world. Some researchers have convincingly explained this positioning of the tiny body-world figures as indicating a Caesarian birth; as Opicinus explains, the two figures are born through Genoa, the a€?forced porta€? in the stomach of the European figure, rather than through Venice, the a€?natural porta€? of the figurea€™s vaginal canal (Opicinus makes the pun about Venetian a€?canalsa€? several times). The earliest depiction of Europe as a woman is believed to be by the 14th century Pavian cleric Opicinus de Canistris for the papal court, then at Avignon. They will give you wide area of selection from which you can select your desire dating partner for a male affair with a mature relationship partner in Australia. Don’t think it is appropriate to have dinner with the person you met on a dating service within a matter of days. Now when you register yourself with that website, you will be asked for some personal details like your name, address, email id, your contact number, your age, your height, weight and many more. This facility allows members to send personal messages to other customers without really revealing their details or seeing details of another without explicit permission from both customers. Bear in mind, you’re seeking a companion and never a task, so constantly use warning in this province by cutting down it off of after this starts.
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These snapshots trigger memories of when they first met, birthday parties, family gatherings, a€?best palsa€? during their college years, dating experiences (with one another and others) and eventually their engagement and birth of a college-age son. Growing up Susie had her own dreams, wanted her own career, all of which now seems to have taken a backseat to raising a family, while Daniel spent much of his time away, often working 70 hours a week.
And you think "oh, finally now we can get married!" But she turns to look at you and say "No I can't marry you. The dating of the Palatinus is more complicated a€” the large autobiographical calendar on fol. The Vaticanus was often mentioned by earlier authors, but had never been the object of extensive study, perhaps because its visual material is smaller and less elaborate than the large Palatinus folios.
These and other claims are refuted by Whittington with a basic statistical analysis of the manuscriptsa€™ subject matter. Their enigmatic forms, expressions, and arrangements have the power to arrest the attention of modern viewers, reversing expectations about what sorts of imagery were possible in the early 14th century.
The a€?world,a€? in Opicinusa€™ drawings, is always represented using these charts; they form the drawingsa€™ structural basis and frame their meanings. Still, crucially, this does not make the drawings, in their inception, a€?abouta€? Opicinus.
The large size of the Palatinus folios suggests a more public function, given their physical similarity to large medieval wall maps and portolan charts. Here one sees before a map of the Mediterranean world a€” Europe, North Africa, Anatolia and part of the Near East are left the white color of the paper, and the seas around them are tinted with a reddish-brown wash. The incredibly diverse drawings that he created in the years that followed were his way of exploring the meaning of this vision and experimenting with different strategies for representing its shape and scope, searching for the arrangements and combinations that would lead him to the deepest meaning. Opicinusa€™ maps were based on the most modern and technically accomplished cartography of his day a€” marinersa€™ sea-charts, which we call portolan charts. Several folios depict only the western portion of the standard Mediterranean portolan chart, limiting their view to the area between Gibraltar and the boot of Italy. The geographic range of the depicted portolan outline is narrow - we see Gibraltar, Tunisia, France, Spain, and Italy, but none of the eastern Mediterranean, which is cut off by the drawinga€™s lower edge.
Little is visible of her lower body, but she wears some kind of cloth wrapped around her waist. However, the most prominent indicator of the figurea€™s identity is the large rota around the face in the Iberian peninsula, which seems to label the figure as Christ. The drawing thus suggests a combination of male and female elements: a pregnant female personification of Christendom, with Christ at the head and heart. In this first example, where the contrast between the two figures is simple and direct, we can more easily explore two ways that the form of the drawing a€” its geographical frame a€”may change the meaning of these figures. For example, the Mediterranean figure appears to have two sexual organs a€” one massive penis that seems to be ejaculating onto the southern coast of Spain, and another that he clutches in his fist (presumably in an act of masturbation) near Venice. 84v, numerous captions explore the moral, theological, quotidian, and incidental correspondences created by the overlay of the city grid on the portolan chart. In addition, the monastery with which they were both associated fell near Rome on the portolan chart.
The revelation and the experiment were meant to be used by anyone a€” Opicinus is using himself as a test case, taking examples from his own life, family history, and childhood, and using them to interpret the correspondence between the two charts.
These are all examples of Akbaria€™s horizontal allegory, or of allegory as a primarily interpretive act; Opicinus creates the structure (which may or may not have an intrinsic meaning a€” in this case, it seems not to), but the primary work is put into interpretation, play, and the creative exploration of his visual construction. Opicinus created, an over-determined world because of its opportunities and flexibility, not to build a burdensome system that would collapse on top of him.
This basic format is repeated on at least eight other pages in the Vaticanus; again, there are variations in the size and placement of the two maps, but all of these examples include two portolan charts that are laid on top of one another.
In the smaller, lower image, the negative space of the chart a€” the sea a€” is tinted with a light brown wash, delineating the body of the so-called a€?Mediterranean Man,a€? often labeled a€?Lucifera€? His head and beard occupy the eastern Mediterranean (his ear tucked against the Nile delta and curving beard shaping the coast of the Anatolian peninsula), his arms gesture near Italy (one fist plunging violently east of Italy, forming the Adriatic), and his feet poke out near Gibraltar, between the faces of Europe and Africa. On this page he connects the two representations of the Adriatic with a diagonal line that slices through the center of the image, running from Venice on one chart to Venice on the other. Morse also points out that different renderings of the sea in the two charts likely correspond to their content; the embodied a€?devil seaa€? lies between the natural worlds, while the a€?spiritual seaa€? is left empty, perhaps to indicate its purity. Small lines connect the first four concepts to the eyes, ears, nose, and mouth of the Africa-figure, indicating the complicity of the exterior senses in this pathway to sin. 74v how Opicinus, by framing his allegories within the portolan charts, solidified their meaning into measured form, aligning the worlda€™s shapes with the truths and figures they revealed.
The meaning of such lines remains ambiguous, but they do suggest points of contact and interconnection between elements that are otherwise set in opposition to one another.
All four of these portolan charts are embodied, creating eight distinct characters: four male figures of Europe, and four figures of Africa (two angels and two male figures). Rather than containing the figure of the diabolical sea, the spaces of the Mediterranean and Black Seas on these two charts are left as windows through which the viewer can see the other maps in the drawing.
The colored worlds below are not labeled, but the figures seem to be a precise mirror of those on top, in both gender and physical appearance. Opicinusa€™ statement about the generation of meaning seems to apply both to this drawing and to many others that depict multiple levels of reality (usually through multiple iterations of the body-worlds). 82r becomes overwhelming, Opicinus provides the viewer with visual cues to make sense of the drawinga€™s disorienting forms. This drawing contrasts two complete sets of body-worlds, one overlapping and partially obscuring the other, and two very different depictions of genitalia are found in the area around Venice on both depictions of Europe. In a passage early in the Vaticanus, Opicinus describes how the a€?diabolical seaa€? inseminates an already-pregnant Europe, splitting the child unnaturally into two figures a€” Europe and Africa.
Victoria Morse shows the way that Opicinus read meaning even into the precise position of these two tiny body-worlds over Lombardy below, determining which local cities fell under Africa and Europe. Playing a safe game is more than necessary as you are going to meet a stranger, not a close pal of your real life. Your sense of humor, confidence, body language, you general behavior everything will be counted.
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While those long hours were necessary early on, when they were young a€“ they wouldna€™t have been able support a family without that job a€“ he long ago could have scaled back to a much more reasonable, manageable schedule that would have allowed him to spend more time with Sue, yet somehow he never did, leaving her to feel essentially alone. His first opera, Seance on a Wet Afternoon, premiered with Opera Santa Barbara in the fall of 2009. It's inevitable that with such age difference you'll both have different habits and tastes. The first 48 contain little visual material besides a few marginalia, while the second half of the book includes some text-only pages, some full-page drawings, and some smaller drawings with extensive text on or around them.
11r, which provides the most complete information about his life, ends with June 1336, suggesting that this drawing was finished by that date. In contrast, Morse demonstrated that the Vaticanus holds the key to understanding Opicinusa€™ thought: its drawings are more intimate and revealing, and it contains over a hundred pages of text.
Portolan charts were modern, cutting-edge diagrammatic maps of the Mediterranean region, and Opicinusa€™ use of them transforms what would otherwise have been old-fashioned, theoretical, and primarily textual drawings into a completely new type of representation. Interpreting the vision with relation to his own body and life was only one of the tactics that he used. The drawings in both manuscripts could have been preparatory studies for some larger-scale project or commission that was never carried out. According to Whittington, to explain what the body-worlds a€?mean,a€? one must explore how and why Opicinus harnessed these maritime maps to a completely different purpose from that for which they were created.
Others include the entire range of the chart, from the Atlantic Ocean to the Black Sea and the Holy Land.
Small captions and rotae are positioned at various points on the map; some of these are placed to comment specifically on a geographical feature, while others remark more generally on the drawing and its characters.
A worm or snake emerges from an otherwise empty circle on her stomach, twisting along the North African coast, its mouth gnawing on the figurea€™s thumb near Carthage.
Large red capital letters spell out C-R-I-S-T-U-S, with each letter also being the first letter of one of the seven gifts of the Holy Spirit. Opicinus uses the portolan chart to construct a binary system in which values can be opposed, and also to place these allegories or personifications within a space that is, in the broadest sense, real.
On the southern coast of France, a basket-woven pattern is explained in a caption as a basket to catch the excrement of the sea-figure. For example, in a short passage in the upper left corner of the page, Opicinus mentions that the body of the sea-devil extends beyond the inner city wall of the Pavian map, which he interprets as a sign that malice and mischief are spread out in the city; beyond the old city walls. An over-determined world allowed him to make visible to himself and his potential readers the primary concerns, impulses, histories, and spaces of his world and his body in a way that led to potentially productive connections and revelations.
In contrast, the sea of the larger top map is not embodied, and retains the color of the paper. This line could help the viewer perceive the imagea€™s orientation, by providing a reference point for the location of the same city on each map at this crucial juncture at the center. The sea-figure takes control of the pagea€™s center, superimposing his twisting body over the eastern half of the upper, spiritual chart a€” his a€?negativea€? space dominates the positive space of the other chart.
In contrast, a caption on the rota for Affrica spiritualis points to the interior senses (sensus interiores) that indicate spiritual progress: meditation, contemplation, discernment, and rumination (meditatio, contemplatio, discretio, degustatio).
They also establish that the body-worldsa€™ identities as both bodies and maps remain significant on their own; because connections rely on their status as both maps and bodies, one is not emphasized over the other. This window or outline a€” the negative space of the upper drawing a€” provides a view onto a world of color.
The mirror of any of his creations, which he acknowledges are fabrications (in the sense that they are imaginary and exploratory), will always contain some new level of meaning.
The two red lines indicate the precise point where worlds are mirrored, and the differentiation in color a€” white, brown, and red a€” brings the forms of the body-worlds into a near-sculptural relief. In the overlapped body-worlds, which are tinted with red and brown wash, we see a small penis depicted inside the figure of Europe, just past the fist of the Mediterranean figure.
It must be acknowledged that both figures are shaped like small penises, but it is also true that in medieval anatomical texts the female genitalia are often described as an interiorized mirror image of a male penis, so perhaps we should not be surprised that the two are a€?personified,a€? if we want to use that term, in similar ways. According to Victoria Morse, Europea€™s pregnancy was also related to local political situations, visualizing the (sexual) corruption of Lombardy within an otherwise holy European body.
She then contrasts this a€?violenta€? delivery of the figures with the small baby depicted on fol. In 1537 the Tirolese cartographer Johann Putsch celebrated the Hapsburg rule over Europe by presenting a placid a€?Europa Reginaa€? wearing Charles Va€™s Spain as a crown and Ferdinanda€™s Austria as a medal at her waist, representing the triumph of the Hapsburgs. If you find things are going well, then you can go ahead with your further plans of spending time together for a long day or more.
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In New South Wales alone there are 27 thousands more women than men in the thirty-sixty age brackets.
In an informal civilization like ours, execution out at the beach consumption fish and chips can charge as an ‘actually serious’ event. She worked there for only three seasons from 1895 to 1897 and she published The Temple of Mut in Asher in 1899 2 with Janet Gourlay, who joined her in the second season. But what really brings them to life are four hard-working cast members who re-enact these various milestones in song and dialogue. Compounding the problem is that Dan has fallen into a familiar pattern of long hours spent at work, not recognizing that there is any sort of problem at home, whatsoever. You'll be talking about saving to buy a land to build a house for example and she'll be talking about why she must have the latest smart phone.
The representation and interpretation of this divine image of the earth would occupy much of the rest of his life. Other dates in the manuscript are scarce; most scholars agree that the bulk of the drawings were completed between February 1335 and June 1336, with later additions stretching all the way to 1350.
Opicinus was working during a crucial moment in the history of cartography, when numerous artists and mapmakers sought to combine old and new forms. Most of the drawings suggest other interpretive avenues, through personifications, allegorical confrontations, or superimposition; one does not have to turn to Opicinusa€™ biography to explain them.
It is also possible that these works were intended, like several of Opicinusa€™ earlier treatises, for the Pope. In this example, Europe is embodied as a man a€” his head occupies the Iberian Peninsula, his chest and stomach lie in France (where some kind of beast in the ocean tries to bite at his shoulder), his arm arches up through the lowlands and Germany, and his legs occupy the Italian peninsula and the Dalmatian coast. He used this technical, practical, scientific cartography to probe deeper into the nature of God and the created world. But all of the drawings in this category share a single feature: they include only one map, one level of cartographic reality on the page.
The two figures that constitute, lie within, or coexist with Africa and Europe are classic examples of Opicinusa€™ body-worlds (the third figure that often appears in the Mediterranean is not included, in this particular drawing).
In two outer concentric rings Opicinus places the names of the seven planets and the days of the week. Yet their placement within a map, particularly an empirical one which was actually used for travelling, emphasizes the tenuousness of such binary oppositions. Despite these and other details on the figures, the actual bodies seem less important to Opicinus in these three drawings; the commentary focuses more on the physical interplay and connections between the two overlapping maps.
It is not that he thinks that this image of the two maps placed in this particular arrangement is necessarily a€?correcta€? or a€?truea€? a€” on fol.
84v offers further evidence that Opicinus viewed the portolan charts as empirical representations.
At the centre of the page the embodied eastern Mediterranean of the lower map (including the Black Sea) overlaps both the land and the sea of the upper map, so that its eastern half (part of Italy and all of Greece, Egypt, and Turkey) is obscured. Or, given the opposing genders of the two Europes in the maps, and the fact that the area at the top of the Adriatic was understood as the erogenous zone of the European body, the line could suggest a sexual point of contact a€” even intercourse a€” between the two figures. It is necessary first to describe and explain the drawinga€™s complex structure, before discussing its content in relation to several captions that surround it. In the space below, the continents are shaded a brick red, while the seas are painted a soft brown-grey. The interpretive paradigm for this drawing must be one of experimentation; it is the only image in the manuscript with this particular arrangement of forms, and through it Opicinus only seems to have arrived at fragments of meaning. The small caption nearby simply reads Venetie [Venice] and without further explanation it is unclear whether the penis belongs to the European body, depicted lying back against his stomach, or whether he is somehow being penetrated by a small penis belonging to the sea-figure. Here, reproductive sexuality is a sign of corruption; elsewhere, as we will see, it is a marker of generative spirituality.
74v, which is positioned for a normal delivery through Venice, with its head down and its arms folded peacefully in prayer. The queena€™s crown (Spain), orb (Sicily), and heart (Bohemia) from a triangle that directs the viewera€™s eye away from Eastern Europe toward the West.
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Irony is just not the similar and you often speculate does ‘LOL’ actually signify they are “laughing out loud”? In the introduction to that publication of her work she emphasized that it was the first time any woman had been given permission by the Egyptian Department of Antiquities to excavate; she was well aware that it was something of an accomplishment. From his perspective, he doesna€™t recognize that a problem exists, therefore there isna€™t one, all of which leads up to the point where the play begins a€¦ the point at which Sue must decide whether she is to leave or stay and try to work their problems out together. Tony Clarno as Daniel, Jess Godwin as Susan, Nick Cosgrove as Danny and Megan Long as Susie are shadow figures from the past, younger versions of Ken and Sue with whom they often interact. Under the auspices of the ASCAP Foundation, he runs musical theatre workshops in New York and Los Angeles, and is currently the President of the Dramatists' Guild.
So having a woman that may not be able to plan with you because that isn't what interest her at her age, may have future consequences. And if a 25 year old woman tells you the age gap doesn't bother her, she likely means it more than a 20 year old. In over eighty surviving drawings, now kept in the Vatican Library and referred to by scholars as the Vaticanus and Palatinus manuscripts, he experimented with how he could uncover the meaning that he was sure God had planted in the vision he saw, in the hope that his drawings would help to renew the faith of all Christians. Far more drawings in the Vaticanus portray body-worlds (23), while few in the Palatinus do so (6).
This encounter between the scientific and the spiritual is best explored by looking at the structures that Opicinus used to create the drawings.
Another rota lies inside France, near the location that Opicinus usually associates with the a€?hearta€? of the Europe figure a€” Avignon. On a map you can literally sail by sea from one a€?placea€? or a€?bodya€? to the other a€” each place is accessible to the other.
Here, the grid structures the space of the local map, but also shapes the way we view the portolan below. It looks like a kind of symbolic twin to the spatio-indexical rhumb lines of the original portolan charts. 61r demonstrates that Opicinus was also aware of the dangers of aligning appearance with truth; appearances could just as easily deceive as reveal.
The arrangement of these colored maps beneath the surface of the white ones is the most complicated aspect of the drawing.
The angels are labeled angelus lucis and angelus tenebrarum a€” an angel of light and an angel of darkness. Given the penises in this region that we discussed above, this latter proposition is not without basis, but it seems more likely that it belongs to the European figure, since it is tinted the same color. Many some time, these men are also the single type looking for single personals women looking for matters. As the events play out, they dona€™t always match how the principal characters remember them.A A A  Many of the rekindled events are hilarious. I know that your love will last for all time, that your faithfulness is as permanent as the sky. Nearly all of the drawings in the Palatinus feature what Whittington calls an a€?overarching containing structurea€? a€” a geometrical framework that contains all of the drawinga€™s content. Her face is to the west, shown in profile as she seems to whisper into the ear of the European figure across the Straits of Gibraltar. She seems to speak directly into the ear of the European figure, depicted partly in profile and partly from the front. At the center of the roundel is a seated figure of Christ showing his wounds; around this are the names of seven episcopal seats, and the seven planets and their positions. In these simplest drawings, though, such a possibility is only hinted at; a much fuller manipulation of the metaphor of travel and movement between binaries, and indeed a subversion of the very concept of binary opposition, is found in Opicinusa€™ more complicated images, discussed below.
This grid, eight squares by ten, is oriented in the same way as the map below, with east at the top of the page (the street grid of Pavia was, and still is, slightly off-axis from the cardinal points because of its alignment with the river, which is reflected in its positioning at a slight angle on the page). Opicinus just seems to be testing each possible arrangement on either side of the folio, turning it back and forth to see which parts of it align with things he believes to be true. Any resident or visitor familiar with the city would recognize that the local map of Pavia was a measured, accurate representation, and the fundamental hypothesis of this image and its interpretation is that correspondences can be deduced through the alignment of one measured map with another. One complete map lies below the upper white map, and one complete map lies below the lower white map, but each is placed in a different relation to its chart above.
The angel of light in the surface map whispers into the ear of the upper male Europe, labeled homo spiritualis, while the angel of darkness whispers to homo carnalis. 61v, where two tiny figures with the same labels hold between them a baby, its head positioned downward, pointing toward the area near Venice through which we presume it would be born.
In the first apartment that he will share with Sue, Dan has a number of surprise female visitors, baggage from his past, who literally pop up from the most unexpected places. Schwartz has recently been given a star on the Hollywood Walk of Fame and inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame.
The danger of any study of Opicinus is that in seeking out the contexts in which one may understand Opicinusa€™ work as logical and coherent, one risks losing sight of what makes them so exceptional.
But he also used this idea in order to create images unrivalled in their complexity and interpretive difficulty, multiplying maps and figures across the page in kaleidoscopic networks. The local grid is filled in with detail; the numerous small labels in brown indicate churches, city gates, bridges, and monasteries in Pavia, while the few red captions refer to cities or regions on the portolan below (here, like elsewhere, Opicinus uses color to clarify his content for the reader). Once again, a grid serves two functions, measuring the space of one reality and indicating the measurability of another.
On the top half of the page, the tinted map below is a precise mirror image of the upper map, reflected from it along a red horizontal line that bisects the upper, white body-worlds. The arrangement recalls nothing so much as the angel and devil of the human conscience that perch on the shoulders of cartoon figures in modern movies and comics, offering advice and urging the character towards good or bad decisions; in the drawing, the heads of the angels seem to rest directly on the shoulders of the figures below them.


Here, the two a€?personificationsa€? of the penis and the womb have produced a tiny child and are preparing it for birth. Later editions of Europe as a queen were issued by Sebastian Munster, Heinrich Bunting and Matthias Quad. If your people of interest are actually new to you, be in the line of view of that person and when the person will look that channel. We were frankly warned that we should make no discoveries; indeed if any had been anticipated, it was unlikely that the clearance would have been entrusted to inexperienced direction.
Even funnier is a bedroom scene where more ghosts put in an appearance (Godwin, changing wigs and intonation in rapid succession). Other awards include three Academy Awards, four Grammy Awards, four Drama Desk Awards, and a tiny handful of tennis trophies.
15: But you, O Lord, are a merciful and loving God, always patient, always kind and faithful.
This a€?manuscripta€? is a collection of 27 huge unbound parchment sheets, averaging about two by three feet, although some are significantly larger.
This observation prompts the next a€” that the Palatinus drawings almost always include calendars (usually as part of the overarching containing structure), while few of the Vaticanus drawings do. Looking at the drawings as a whole, there can be no doubt that there are distinct threads running through them a€” themes, problems, and possibilities that Opicinus set out to explore. And just as the drawingsa€™ forms combine simplicity and complexity, their content also veers from the straightforward to the impenetrable.
The relationship between these human figures and the landforms is, as is always the case in Opicinusa€™ drawings, very difficult to describe. The huge green swath at the right of the page indicates the Ticino River, which is coextensive with the long veil or cloak worn by the Africa woman. The white body-worlds in the top layer always overlap the lower, colored ones, which are only visible in the negative space of the sea. These personificationsa€™ sexuality is normative and non-transgressive a€” male and female members come together inside of the female body. 3 A Margaret Benson was born June 16, 1865, one of the six children of Edward White Benson. Depending on the individual viewera€™s perception, the figures can seem to be lying on top of the land, growing out of it, or somehow placed under it a€” as if the landforms are windows through which we are looking. The green lines at the top and bottom of the page show the path of several Pavian canals, and the three concentric red boundaries drawn around the page indicate the city walls.
The same system is repeated in the lower half of the drawing, except that the lower tinted map is reflected along a vertical line, also colored red. From these observations, Whittington generalizes some of the basic differences between the two manuscripts. Most of all, however, these enigmatic forms seem to depict the earth and the bodies as coextensive, and of the same material a€” bodies made out of the earth.
The two maps on the bottom half of the page are also mirror images of one another, but along a different axis. He was first an assistant master at Rugby, then the first headmaster of the newly founded Wellington College.He rose in the service of the church as Chancellor of the diocese of Lincoln, Bishop of Truro and, finally, Archbishop of Canterbury. The Vaticanus seems to be more of a personal manuscript, perhaps never intended for a wider audience. The more one looks at these body-worlds, the more one sees the human figures as figures a€” the stranger parts of their bodies, where the landforms do not align so easily with a normative human shape, become less and less noticeable.
The two red axes are thus crucial to understanding the drawing: they must have been used to construct it and also intended to aid in its decoding. Its drawings are less structured and presentational, contain more sexual imagery, and include more personal themes, all of which we might associate with a private, rather than public function (although such distinctions were perhaps more fluid in 14th century Italy than they are today). 8: But God has shown us how much he loves us a€“ it was while we were still sinners that Christ died for us!Hebrews 13, vs. Secondly, the drawings in the Vaticanus and Palatinus have very different structures; the Vaticanus uses the form of the portolan [nautical] chart to structure meaning and representations of bodies, while the Palatinus drawings use larger geometric, ecclesiastical, and temporal frames, which in turn often contain representations of the earth.
Benson was a learned man with a wide knowledge of history and a serious concern for the education of the young.
Finally, the Palatinus drawings contain a temporal, cyclical element (numerous calendars and representations of the zodiac) that the Vaticanus drawings usually lack.
He was also something of a poet and one of his hymns is still included in the American Episcopal Hymnal. Arthur Christopher, the eldest, was first a master at Eton and then at Magdalen College, Cambridge. A noted author and poet with an enormous literary output, he published over fifty books, most of an inspirational nature, but he was also the author of monographs on D. I would come home from work and plop myself in the chair for A? hour or so, wash up, change my clothes and eat dinner.
He helped to edit the correspondence of Queen Victoria for publication, contributed poetry to The Yellow Book, and wrote the words to the anthem "Land of Hope and Glory". I can count on my one hand the number of times I played ball with my boy or took my daughter shopping.
Most important to the study of the excavator of the Mut Temple, he was the author of The Life and Letters of Maggie Benson, 4 a sympathetic biography which helps to shed some light on her short archaeological career.
I feel sorry for my children for not being there for them and sorry for my wife because she raised the kids pretty much on her own and she did a great job of it. He also wrote several reminiscences of his family in which he included his sister and described his involvement in her excavations. I am sorry for myself also because the moments that I missed with my children can never be recovered.
He helped to supervise part of the work and he prepared the plan of the temple which was used in her eventual publication. I thought I was doing my best by beingA a goodA provider but in my older wisdom I know that being a Dad was the most important thing they needed. His younger brother, Robert Hugh Benson, took Holy Orders in the Church of England, later converted to Roman Catholicism and was ordained a priest in that rite. He also achieved some fame as a novelist and poet and rose to the position of Papal Chamberlain.
Her publication of the excavation is cited in every reference to theTemple of Mut in the Egyptological literature, but she is known to history as a name in a footnote and little else.A Margaret Benson was born at Wellington College during her father's tenure as headmaster.
Each career advancement for him meant a move for the family so her childhood was spent in a series of official residences until she went to Oxford in 1883. She was eighteen when she was enrolled at Lady Margaret Hall, a women's college founded only four years before.
One of her tutors commented to his sister that he was sorry Margaret had not been able to read for "Greats" in the normal way. 5 When she took a first in the Women's Honours School of Philosophy, he said, "No one will realize how brilliantly she has done." 6 Since her work was not compared to that of her male contemporaries, it would have escaped noticed.
In her studies she concentrated on political economy and moral sciences but she was also active in many aspects of the college.
She participated in dramatics, debating and sports but her outstanding talent was for drawing and painting in watercolor. He created us, molded us, watches over our lives, provides for us, and when we die He brings us into His kingdom. Her skill was so superior he thought she should be appointed drawing mistress if she remained at Lady Margaret Hall for any length of time. She began a work titled "The Venture of Rational Faith" which occupied her thoughts for many years. From the titles alone they suggest a young woman who was deeply concerned with problems of society and the spirit and this preoccupation with the spiritual was to be one of her concerns throughout the rest of her life. In some of her letters from Egypt it is clear that she was attempting to understand something of the spiritual life of the ancient Egyptians, not a surprising interest for the daughter of a churchman like Edward White Benson. A In 1885, at the age of twenty, Margaret was taken ill with scarlet fever while at Zermatt in Switzerland.
It was customary at that time for Rabbis (Jesus was onea€”it meant teacher) when they were among a crowd to say the first verse of a Psalm. By the time she was twenty-five she had developed the symptoms of rheumatism and the beginnings of arthritis.
What He most likely was doing was wanting the rest of the people, and us, to say the rest of the Psalm.
She made her first voyage to Egypt in 1894 because the warm climate was considered to be beneficial for those who suffered from her ailments.
Wintering in Egypt was highly recommended at the time for a wide range of illnesses ranging from simple asthma to "mental strain." Lord Carnarvon, Howard Carter's sponsor in the search for the tomb of Tutankhamun, was one of the many who went to Egypt for reasons of health. After Cairo and Giza she went on by stages as far as Aswan and the island temples of Philae. She commented on the "wonderful calm" of the Great Sphinx, the physical beauty of the Nubians, the color of the stone at Philae, the descent of the cataract by boat, which she said was "not at all dangerous".
By the end of January she was established in Luxor with a program of visits to the monuments set out. I don't feel as if I should have really had an idea of Egypt at all if I hadn't stayed here -- the Bas-reliefs of kings in chariots are only now beginning to look individual instead of made on a pattern, and the immensity of the whole thing is beginning to dawn -- and the colours, oh my goodness!
Kendall===============================================================================Pastor Pop-Pop June 12, 2010. The ancient language and script she found fascinating but she was not as interested in reading classical Arabic. Her interest was maintained by the variety of animal and bird life for at home in England she had been surrounded by domestic animals and had always been keen on keeping pets.
By the time her first stay ended in March, 1894, she had already resolved to return in the fall.
When Margaret returned to Egypt in November she had already conceived the idea of excavating a site and thus applied to the Egyptian authorities.
Edouard Naville, the Swiss Egyptologist who was working at the Temple of Hatshepsut at Dier el Bahri for the Egypt Exploration Fund, wrote to Henri de Morgan, Director of the Department of Antiquities, on her behalf. From her letters of the time, it is clear that this was one of the most exciting moments of Margaret Benson's life because she was allowed to embark on what she considered a great adventure. A Margaret's physical condition at the beginning of the excavation was of great concern to the family. Lost loves, friends, jobs, disagreements with others, death of relatives, and depression are just some of the reasons we lose pride and hope in one self.
We could go on with this forever so today I am just addressing those qualities in single people. With single people, it could just be the problem with finding the right a€?someonea€? to love. A Margaret Benson had no particular training to qualify or prepare her for the job but what she lacked in experience she more than made up for with her "enthusiastic personality" and her intellectual curiosity. The delay or loss of a past love (among other things) could send someone spiraling downward into a loss of respect for themselves.
In the preface to The Temple of Mut in Asher she said that she had no intention of publishing the work because she had been warned that there was little to find. In the introduction to The Temple of Mut in Asher acknowledgments were made and gratitude was offered to a number of people who aided in the work in various ways. Nationally, there are 85.6 unmarried men for every 100 unmarried women and the birthrate is approximately 53% women over men. The professional Egyptologists and archaeologists included Naville, Petrie, de Morgan, Brugsch, Borchardt, Daressy, Hogarth and especially Percy Newberry who translated the inscriptions on all of the statues found. Lea), 10 a Colonel Esdaile, 11 and Margaret's brother, Fred, helped in the supervision of the work in one or more seasons. They have the a€?TV-ADa€? looks, drugs, drinking, sex, and instant communication (cell and text). A It is usually assumed that Margaret Benson and Janet Gourlay worked only as amateurs, with little direction and totally inexperienced help. Some people give up on themselves and become self destructive with over eating and drinking or hibernation.
It is clear from the publication that Naville helped to set up the excavation and helped to plan the work. Hogarth 12 gave advice in the direction of the digging and Newberry was singled out for his advice, suggestions and correction as well as "unwearied kindness." Margaret's brother, Fred, helped his inexperienced sister by supervising some of the work as well as making a measured plan of the temple which is reproduced in the publication. Benson) was qualified to help because he had intended to pursue archaeology as a career, studied Classical Languages and archaeology at Cambridge, and was awarded a scholarship at King's College on the basis of his work. He organized a small excavation at Chester to search for Roman legionary tomb stones built into the town wall and the results of his efforts were noticed favorably by Theodore Mommsen, the great nineteenth century classicist, and by Mr. Benson went on to excavate at Megalopolis in Greece for the British School at Athens and published the result of his work in the Journal of Hellenic Studies.
His first love was Greece and its antiquities and it is probable that concern for his sister's health was a more important reason for him joining the excavation than an interest in the antiquities of Egypt. 13A It is interesting to speculate as to why a Victorian woman was drawn to the Temple of Mut. The precinct of the goddess who was the consort of Amun, titled "Lady of Heaven", and "Mistress of all the Gods", is a compelling site and was certainly in need of further exploration in Margaret's time.
Its isolation and the arrangement with the Temple of Mut enclosed on three sides by its own sacred lake made it seem even more romantic. 14 When she began the excavation three days was considered enough time to "do" the monuments of Luxor and Margaret said that few people could be expected to spend even a half hour at in the Precinct of Mut. A On her first visit to Egypt in 1894 she had gone to see the temple because she had heard about the granite statues with cats' heads (the lion-headed images of Sakhmet). From a mana€™s perspective, if a man is looking for a quick date, sex, or just a temporary girlfriend he will frequent a bar.
The donkey-boys knew how to find the temple but it was not considered a "usual excursion" and after her early visits to the site she said that "The temple itself was much destroyed, and the broken walls so far buried, that one could not trace the plan of more than the outer court and a few small chambers". If a man is looking for a long term loving relationship or wife, he will look around church, a library (or book store), coffee bars, or social groups. 15 The Precinct of the Goddess Mut is an extensive field of ruins about twenty-two acres in size, of which Margaret had chosen to excavate only the central structure.
Connected to the southernmost pylons of the larger Amun Temple of Karnak by an avenue of sphinxes, the Mut precinct contains three major temples and a number of smaller structures in various stages of dilapidation.
Dona€™t settle on things that go against you conscience whether it is with yourself or a mate. She noted some of these details in her initial description of the site, but in three short seasons she was only able to work inside the Mut Temple proper and she cleared little of its exterior. People with multiple divorces fail in relationships, drinkers are good drinkers, abusers (physical or mentally) are just abusers and players, and cheaters are cheaters. People rarely change and never enter a relationship with the thought that you can later on change that person to your expectations. Serious study of the temple complex was started at least as early as the expedition of Napoleon at the end of the eighteenth century when artists and engineers attached to the military corps measured the ruins and made drawings of some of the statues.
During the first quarter of the nineteenth century, the great age of the treasure hunters in Egypt, Giovanni Belzoni carried away many of the lion-headed statues and pieces of sculpture to European museums. If a person you care for ever poses this statement ----- A a€? If you want me (or love me) you need to do a€?this or thata€™.a€? ----- then walk away and dona€™t look back. Champollion, the decipherer of hieroglyphs, and Karl Lepsius, the pioneer German Egyptologist, both visited the precinct, copied inscriptions and made maps of the remains.16 August Mariette had excavated there and believed that he had exhausted the site. Most of the travelers and scholars who had visited the precinct or carried out work there left some notes or sketches of what they saw and these were useful as references for the new excavation. Since some of the early sources on the site are quoted in her publication, Margaret was obviously aware of their existence.
17A On her return to Egypt at the end of November, 1894, she stopped at Mena House hotel at Giza and for a short time at Helwan, south of Cairo. Helwan was known for its sulphur springs and from about 1880 it had become a popular health resort, particularly suited for the treatment of the sorts of maladies from which Margaret suffered. People at every turn asked if she remembered them and her donkey-boy almost wept to see her.
A "On January 1st, 1895, we began the excavation" -- with a crew composed of four men, sixteen boys (to carry away the earth), an overseer, a night guardian and a water carrier. The largest the work gang would be in the three seasons of excavation was sixteen or seventeen men and eighty boys, still a sizable number.
Before the work started Naville came to "interview our overseer and show us how to determine the course of the work". A A good part of Margaret's time was occupied with learning how to supervise the workmen and the basket boys.
Since her spoken Arabic was almost nonexistent, she had to use a donkey-boy as a translator.
It would have been helpful if she had had the opportunity to work on an excavation conducted by a professional and profit from the experience but she was eager to learn and had generally good advice at her disposal so she proceeded in an orderly manner and began to clear the temple.
On the second of January she wrote to her mother: "I don't think much will be found of little things, only walls, bases of pillars, and possibly Cat-statues. I shall feel rather like --'Massa in the shade would lay While we poor niggers toiled all day' -- for I am to have a responsible overseer, and my chief duty apparently will be paying.
18A She is described as riding out from the Luxor Hotel on donkey-back with bags of piaster pieces jingling for the Saturday payday. She had been warned to pay each man and boy personally rather than through the overseer to reduce the chances of wages disappearing into the hands of intermediaries. The workmen believed that she was at least a princess and they wanted to know if her father lived in the same village as the Queen of England. When they sang their impromptu work songs (as Egyptian workmen still do) they called Margaret the "Princess" and her brother Fred the "Khedive".
A PART II: THE EXCAVATIONSA The clearance was begun in the northern, outer, court of the temple where Mariette had certainly worked.
Earth was banked to the north side of the court, against the back of the ruined first pylon but on the south it had been dug out even below the level of the pavement. Mariette's map is inaccurate in a number of respects suggesting that he was not able to expose enough of the main walls. At the first (northern) gate it was necessary for Margaret Benson to clear ten or twelve feet of earth to reach the paving stones at the bottom. In the process they found what were described as fallen roofing blocks, a lion-headed statue lying across and blocking the way, and also a small sandstone head of a hippopotamus.
In the clearance of the court the bases of four pairs of columns were found, not five as on Mariette's map. After working around the west half of the first court and disengaging eight Sakhmet statues in the process, they came on their first important find.
Near the west wall of the court, was discovered a block statue of a man named Amenemhet, a royal scribe of the time of Amenhotep II. The statue is now in the Egyptian Museum in Cairo 19 but Margaret was given a cast of it to take home to England.
When it was discovered she wrote to her father: A My Dearest Papa, We have had such a splendid find at the Temple of Mut that I must write to tell you about it.
We were just going out there on Monday, when we met one of our boys who works there running to tell us that they had found a statue. When we got there they were washing it, and it proved to be a black granite figure about two feet high, knees up to its chin, hands crossed on them, one hand holding a lotus.
20A The government had appointed an overseer who spent his time watching the excavation for just such finds.
He reported it to a sub-inspector who immediately took the block statue away to a store house and locked it up. He said it was hard that Margaret should not have "la jouissance de la statue que vous avez trouve" and she was allowed to take it to the hotel where she could enjoy it until the end of the season when it would become the property of the museum. The statue had been found on the pavement level, apparently in situ, suggesting to the excavator that this was good evidence for an earlier dating for the temple than was generally believed at the time.
The presence of a statue on the floor of a temple does not necessarily date the temple, but many contemporary Egyptologists might have come to the same conclusion. One visitor to the site recalled that a party of American tourists were perplexed when Margaret was pointed out to them as the director of the dig. At that moment she and a friend were sitting on the ground quarreling about who could build the best sand castle. This was probably not the picture of an "important" English Egyptologist that the Americans had expected. A As work was continued in the first court other broken statues of Sakhmet were found as well as two seated sandstone baboons of the time of Ramesses III.
21 The baboons went to the museum in Cairo, a fragment of a limestone stela was eventually consigned to a store house in Luxor and the upper part of a female figure was left in the precinct where it was recently rediscovered. The small objects found in the season of 1895 included a few coins, a terra cotta of a reclining "princess", some beads, Roman pots and broken bits of bronze. Time was spent repositioning Sakhmet statues which appeared to be out of place based on what was perceived as a pattern for their arrangement. Even if they were correct they could not be sure that they were reconstructing the original ancient placement of the statues in the temple or some modification of the original design.
In the spirit of neatness and attempting to leave the precinct in good order, they also repaired some of the statues with the aid of an Italian plasterer, hired especially for that purpose. A Margaret was often bed ridden by her illnesses and she was subject to fits of depression as well but she and her brother Fred would while away the evenings playing impromptu parlor games. For a fancy dress ball at the Luxor Hotel she appeared costumed as the goddess Mut, wearing a vulture headdress which Naville praised for its ingenuity.
The resources in the souk of Luxor for fancy dress were nonexistent but Margaret was resourceful enough to find material with which to fabricate a costume based, as she said, on "Old Egyptian pictures." A The results of the first season would have been gratifying for any excavator. In a short five weeks the "English Lady" had begun to clear the temple and to note the errors on the older plans available to her. She had started a program of reconstruction with the idea of preserving some of the statues of Sakhmet littering the site.
She had found one statue of great importance and the torso of another which did not seem so significant to her. Her original intention of digging in a picturesque place where she had been told there was nothing much to be found was beginning to produce unexpected results.A The Benson party arrived in Egypt for the second season early in January of 1896.
The following religions or faiths consider Jesus as an enlightened spiritual teacher: Jehovaha€™s Witnesses, Mormonism, Unification Church , Christian Science, A? of all Wicca, New Age, Nation of Islam, Bahaa€™i World Faith, Hare Krishna, Hinduism, some of Judaism, and Islam. After a trip down to, they reached Luxor Aswan around the twenty-sixth and the work began on the thirtieth. It is funny that all these listed above recognize him as a great spiritual teacher but do not follow His teachings. That day Margaret was introduced to Janet Gourlay who had come to assist with the excavation. The beginning of the long relationship between "Maggie" Benson and "Nettie" Gourlay was not signaled with any particular importance. The other half of Wicca, Transcendental Meditation, Scientology, and Buddhists either do not mention Him or He is not important to their way of thinking. By May of the same year she was to write (also to her mother): "I like her more and more -- I haven't liked anyone so well in years". Miss Benson and Miss Gourlay seemed to work together very well and to share similar reactions and feelings.
They were to remain close friends for much of Margaret's life, visiting and travelling together often. Their correspondence reflects a deep mutual sympathy and Janet was apparently much on Margaret's mind because she often mentioned her friend in writing to others.
After her relationship with Margaret Benson she faded into obscurity and even her family has been difficult to trace, although a sister was located a few years ago. A For the second season in 1896 the work staff was a little larger, with eight to twelve men, twenty-four to thirty-six boys, a rais (overseer), guardians and the necessary water carrier. With the first court considered cleared in the previous season, work was begun at the gate way between the first and second courts. Genesis Chapter #1 in part of verse 2 says, a€?and the Spirit of God was moving over the watera€?. An investigation was made of the ruined wall between these two courts and the conclusion was drawn that it was "a composite structure" suggesting that part of the wall was of a later date than the rest. The wall east of the gate opening is of stone and clearly of at least two building periods while the west side has a mud brick core faced on the south with stone. Margaret thought the west half of the wall to be completely destroyed because it was of mud brick which had never been replaced by stone. She found the remains of "more than one row of hollow pots" which she thought had been used as "air bricks" in some later rebuilding.
Originally built of mud brick, like many of the structures in the Precinct of Mut, the south face of both halves of the wall was sheathed with stone one course thick no later than the Ramesside Period. During the Ptolemaic Period the core of the east half of the mud brick wall was replaced with stone but the Ramesside sheathing was retained. Here the untrained excavator was beginning to understand some of the problems of clearing a temple structure in Egypt.
Mariette's plan of the second chamber probably seemed accurate after a superficial examination so a complete clearing seemed unnecessary. He won trophies for the best in class in New York State for horseshoes and archery (before compound bows) for several years running.
He hunted and fished and always, it seemed, brought back his limit no matter what game, fish, or bird was in season. Other fragments were found and the original height of the seated statue was estimated between fourteen and sixteen feet high. The following year de Morgan, the Director General of the Department of Antiquities, ordered the head sent to the museum in Cairo The finding of the large lion head is mentioned in a letter from Margaret to her mother dated February 9, 1896, 22. He joined the Navy Sea Bees in WW2 and ended up getting drafted in the Marine Corps on an Island in the Pacific during the conflict. In the same letter she also mentions the discovery of a statue of Ramesses II on the day before the letter was written. 23.Her published letters often give exact or close dates of discoveries whereas her later publication in the Temple of Mut in Asher was an attempt at a narrative of the work in some order of progression through the temple and dates are often lacking.
About the same time that the giant lion head was found some effort was made to raise a large cornerstone block but a crowbar was bent and a rope was broken. The only way there is through His Son Jesus so I accept Him as my Lord and Savior and try my best to follow His ways.
The end result of the activity is not explained at that point and the location of the corner not given but it can probably be identified with the southeast cornerstone of the Mut Temple mentioned later in a description of the search for foundation deposits.
A Somewhere near the central axis of the second court, but just inside the gateway, they came on the upper half of a royal statue with nemes headdress and the remains of a false beard. There had been inscriptions on the shoulder and back pillar but these had been methodically erased. The lower half was found a little later and it was possible to reconstruct an over life-sized, nearly complete, seated statue of a king.
The excavators published it as "possibly" Tutankhamun, an identification not accepted today, and it is still to be seen, sitting to the east of the gateway, facing into the second court.24 A large statue of Sakhmet was also found, not as large as the colossal head, but larger than the other figures still in the precinct and in most Egyptian collections. It was also reconstructed and left in place, on the west side of the doorway where it is one of the most recognizable landmarks in the temple.
In the clearance of the second court a feature described as a thin wall built out from the north wall was found in the northeast corner. It was later interpreted by the nineteenth century excavators as part of the arrangement for a raised cloister and it was not until recent excavation that it was identified as the lower part of the wall of a small chapel, built against the north wall of the court. The process of determining any sequence of the levels in the second court was complicated by the fact that it had been worked over by earlier treasure hunters and archaeologists.
In some cases statues were found below the original floor level, leading to the assumption that some pieces had fallen, broken the pavement, and sunk into the floor of their own weight. It is more probable that the stone floors had been dug out and undermined in the search for antiquities.
A An attempt was made to put the area in order for future visitors as the excavation progressed.
This included the reconstruction of some of the statues as found and the moving of others in a general attempt to neaten the appearance of the temple.
Other finds made in the second court included inscribed blocks too large to move or reused in parts of walls still standing. The statue identified as Ramesses II, mentioned in Margaret's letter of February 9, was found on the southwest side of the court, near the center. A ====================================================== ==============================================Note: If you have not seen the movie "Left Behind" with Kirk Cameron, now would be the time. It was a seated figure in pink granite, rather large in size, but when it was completely uncovered it was found to be broken through the middle with the lower half in an advanced state of disintegration.
The upper part was in relatively good condition except for the left shoulder and arm and it was eventually awarded to the excavators. A Mention was also made of several small finds from the second court including a head of a god in black stone and part of the vulture headdress from a statue of a goddess or a queen.
The recent ongoing excavations carried out by the Brooklyn Museum have revealed a female head with traces of a vulture headdress as well as a number of fragments of legs and feet which suggest that the head of the god found by Margaret Benson was from a pair statue representing Amun and Mut. Another important discovery she made on the south side of the court was a series of sandstone relief blocks representing the arrival at Thebes of Nitocris, daughter of Psamtik I, as God's Wife of Amun.25A At some time during the season Margaret was made aware of the possibility that foundation deposits might still be in place. Well to begin with; this promise from God is only for believers and followers of Jesus Christ.
These dedicatory deposits were put down at the time of the founding of a structure or at a time of a major rebuilding, and they are often found under the cornerstones, the thresholds or under major walls, usually in the center. Paul was talking about believers and inserted the condition of a€?for those who love Goda€?.
They contain a number of small objects including containers for food offerings, model tools and model bricks or plaques inscribed with the name of the ruler.
The importance of finding such a deposit in the Temple of Mut was obvious to Margaret because it would prove to everyone's satisfaction who had built the temple, or at least who had made additions to it.
A They first looked for foundation deposits in the middle of the gateway between the first and second courts. At the same time another part of the crew was clearing the innermost rooms in the south part of the temple.
Under the central of the three chambers they discovered a subterranean crypt with an entrance so small that it had to be excavated by "a small boy with a trowel". This chamber has been re-cleared in recent years and proved to be a small rectangular room with traces of an erased one-line text around the four walls. You see, when you accept Christ as your Lord and Savior and ask for forgiveness and confess to Him your sins --------- you are washed clean with the blood of Christ. In antiquity the access seems to have been hidden by a paving stone which had to be lifted each time the room was entered. A The search for foundation deposits continued in the southeast corner of the temple (probably the place where the crowbar was bent and the rope broken).
However, sometimes you carry the baggage of the memories of those sins in your mind and heart. Again no deposit was found but in digging around the cornerstone, below the original ground level, they began to find statues and fragments of statues. As the earth continued to yield more and more pieces of sculpture, Legrain arrived from the Amun Temple, where he was supervising the excavation, and announced his intention to take everything away to the storehouse.
This verse in Romans assures you that your guilt is unjustified because God will make it turn out in the end for good.
Aside from the pleasure of the find, it was important to have the objects at hand for study, comparison and the copying of inscriptions. Jesus did not promise that this life would be easy but that He would walk through those troubled times with you. Although it was a good one, it caused me much stress and sometimes aspects of it violated my conscience. I do believe that God is making this bad thing turn out to be good and I think He has a better job for me in the near future. If you believe in God and love Him and believe in His promise, these too will turn out for the better. And leta€™s not forget that even though what his brothers did was a€?wronga€?, God made it into good when Joseph forgave them and helped them. His promise does not make wrong right but makes it turn out into something good for his glory, for us believers. We know that Jesus will walk with us through the valley but God will get us to the mountain top when we get through it. I am sure there are many stories out there of how this verse helped many people weather their storms. Kendall============================================================Pastor Pop-Pop July 31, 2010. Do not make for yourselves images of anything in heaven or on earth or in the water under the earth. Do not bow down to any idol or worship it, because I am the Lord your God and I tolerate no rivals.
I bring punishment on those who hate me and on their descendants down to the third and fourth generation. It tells us His personality, words, likes, dislikes, rules, commands, pleasures, and all the things he has done. So any god or image of him that does not conform to or match the one described in the Bible (the word of God) is not the God of Israel that we are to worship.
Let us be clear that making images of anything is not a violation of the commandment but actually worshiping it as a god. Some churches within the body of Christ have pictures or statues of saints or even Jesusa€™ mother. That is not a violation unless the statue (or the person) a€?itselfa€? is being worshiped as a god or the statue is believed to have some sort of power within itself. Wearing a Jewish star or a cross is also not a violation unless the emblem itself is worshiped. If they are decorations that is OK but if you actually place or believe some hope or faith of luck in them, it is a violation of the commandment. People now seem to create their own god to worship in a€?their own minda€? and not within the scope of the Word of God (the Bible). The one I hear the most is, a€?I am a good person so that is all that is needed to go to Heaven and be saved.a€? That is not what the Bible tells us. Matthew 7:21 (ESV) says, a€?Not everyone who says to me a€?Lord Lord,a€™ will enter the kingdom of heaven, but the one who does the will of my Father in heaven.a€? What is the will of the Father? People go around saying god is this or god is that or that is a€?not what I believe ina€™ but if their beliefs are not in line with the Bible, they are in violation of the first commandment.
God is OK with working on a Sunday (or having your place of business open), God is OK with Homosexual and Gay behavior, I dona€™t have to go to church and worship Him, I dona€™t have to give, I dona€™t have to forgive everyone, it is OK to kill unborn babies, He is OK with pagan rituals, I can be rude to people, God did not make the earth a€“ and on and on and on. The pastor said that this church was saying the Holy Spirit told them this was OK but another church said that the Holy Spirit was against this and yet another one had a different view point from the Holy Spirit. We all violate them in some way or another but that is why Jesus died on the cross to wash us clean in His blood and absolve us of our faults. He scribed it on stone tablets and gave them to Moses on the mountain top to give to His people.
That is the translation that she likes to use.===============================================================Thou shall have no other gods before me. You shall not make for yourself an idol in the form of anything in heaven above or on the earth beneath or in the waters below.
You shall not bow down to them or worship them; for I, the Lord your God, am a jealous Goda€¦a€¦a€¦a€¦a€¦a€¦a€¦a€¦. Leta€™s take one at a time and discuss:We discussed this command last sermon (review if you want to).
Have you ever created another God in your mind or worshiped another god of a different religion or faith? Jesus said that if you even lust in your heart (or mind) for another that you violate this commandment. Covet is defined in the NIV dictionary as: To want for yourself something that belongs to another person. Whether you take it or not, take it and not return it, or just desire it ---- you have violated this commandment.
If you believe in Jesus and accept Him as your Lord and Savior, you are forgiven of your sins and you are washed in His blood clean and white as snow.
A Timothy McVey the mastermind on the Oklahoma bombing defied God and declared that he alone was the a€?master of his destinya€?.
A ==============================================================================Pastor Pop-Pop August 24, 2010.
Having a good relationship with your spouse, family, friends, or co-workers is usually based on a good two way conversational attitude. To render Him praise and glory through prayer, actions, good deeds, following His laws and commandments, and accepting Jesus as our Lord and Savior. He knows what we need before we ask but He likes to hear it from us also with some praise and worship attached. Your Mom knows you need food and gives you healthy meals but approaching her and asking for a snack also tells her you would like some cheese doodles too. Prayers can be from a book, made up by you, from the Bible, or just general conversation between you and God. They can be on your knees by your bed, in Church, or just during every day activities or work. I try to concentrate not on an earthly or worldly fixture or thing but temporarily close my eyes (not while driving) or look up when I talk to Him. I find one (or a paragraph or verse) that I derive comfort from and say it as a special prayer to the Lord.
What can flesh do to me?Psalm 121(NLT): I look up to the mountains-does my help come from there? Go to a good book store and page through some and see which ones are comfortable for you personally. They are good Bibles but one is paraphrased and one is in a so called modern language that, for me, does not read real well.
I highly recommend The New Living Translation (NLT), The New Century Version (NCV), or the New American Bible (NAB). The first two are used a lot with Contemporary Christian Churches and the third contains extra books as it was designed to meet the needs of Catholic Christians.



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